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NEW "DRTJRY LANE" VERSION. 



PEEP O' DAY- 

OE, SAVOURNEEN DHEELISH. 

%n Jfnslj Eomantk £kanra, 

IN FOUR ACTS. 

(Derived from " The Tales of the O'Hara Family." 
By EDMUND FALCONER, 

Author of " Inshavogue," "Extremes," " Buy Bias" " Outlaw oftJie Adriatic," etc., etts. 



FIRST PERFORMED AT THE LYCEUM THEATRE, LONDON, ON MON- 
DAY, NOVEMBER THE 11th, 1861, AND AS PRODUCED, WITH 
ALTERATIONS, FOR THE MODERN STAGE, AT DRURY 
LANE THEATRE, LONDON, UNDER THE MANAGE- 
MENT OF MR. F. B. CHATTERTON, ON 
MONDAY, FEBRUARY THE 28th, 1870. 



TO WHICH IS ADDED 



▲ DESCRIPTION OF THE COSTUMES — CAST OF THE CHARACTERS EN- 
TRANCES AND EXITS — RELATIVE POSITIONS OF THE PER- 
FORMERS ON THE STAGE, AND THE WHOLE 
OF THE STAGE BUSINESS 



NEW YORK: 

ROBERT M. DE WITT, PUBLISHER 

No. 33 Rose Street. 



PEEP DAY. 






CAST OF CHARACTERS. 



Lyceum Theatre, London, Drury Lane Theatre, 



Nov. 11, 1861 

Harry Kavanagh (Lead) Mr. H. Vezin. 

Stephen Purcell (Heavy ) Mr. G. Spencer. 

Rev. W. O'Cleary (1st Old Man) Mr. Addison. 

Mr. Grace (2d Old Man) 

Captain Howard (Light Comedy) Mr. "Walter Lacy 

Lieut. Graham (Utility) 

Black Mullins (2d Heavy) Mr. Chas. M'Intyre. Mr. W. Selby. 

Barney O'Tooie (1st Low Comedy) Mr. E. Falconer. Mr. J. Reynolds 



London, Feb. 28, 1870. 
Mr. J. B. Howard. 
Mr. Lewis Nanton. 
Mr. Barrett. 
Mr. J. Neville. 
Mr. F. Charles. 
Mr. C. Moore. 



(Irish. 



Red Murtoch 

Blind Paddy (to Sing) 

Dermot 

Phadrig 

Connor 

Phelim 

Andy the Post 

Paddy the Piper 

Billy o' the Bowl J (& , < 

Tim with the Woodenleg. | i aancerh > \ 

Lieut. Starlight 

Sergeant Moonshine 

Peasants, Soldiers, Peep o' Day Boys. 

Kathleen Kavanagh (Lead) Mrs. D. P. Bowers. 

Mary Grace (Walking Lady) Miss Clara Weston. 

Molshee (2d Old Woman) Miss Michells. 

Widow Kavanah (1st Old Woman) Mrs. Barrett. 

"Widow Mahone ) , T t«ij+„% 

Blind Paddy's Wife | ( utul W 

Shelah (Danseuse, to speak) . 

Peasant Girls. 



Mr. Cullen. 
Mr. J. Morris 



Mr. W. F. Vokes. 
Mr. F. Yokes. 



Miss Edith Stuart. 
Miss Amy Roselle. 
Mrs. Hudson. 



Miss Rosina Vokes. 



SCENERY {Irish. Mumter Co., 1798.) 

ACT I.— Scene I. — A Landscape and front of Cottage, in 5th grooves. Hills on 
flat. 4th e., a platform with set rocks, steps from it at c, and off l. 4. e. Rocks and 
trees l. side. Cottage r. 1 and 2 e. 's ; trees and rocks r. Porch to cottage overgrown 
with ivy. Sunset and twilight effect. Moon to rise, transparency in flat. 

ACT II. — Scene I. — Wood in 1st grooves. 

Scene 11. — Holy Well and Landscape in 6th grooves. R. 1 and 2 E.'s, ruins of 
church with open archway. 4th groove, a platform crossing the stage, its front 
masked with rocks and bushes, with steps to stage at c. L. 2 e. , a well. 

ACT III.— Scene I. — Room in a large house, in 3d grooves. Entrances open R. 
aud l. Door l. in f. Gas is down in this Scene. A table up r. c, and chairs. 

Scene II. -Wood in 1st grooves. 

Scene III. — Wood in 2d cut of 1st grooves, with the front of a cabin painted on l. 
side. 

G*FT 
.EST. OF 4 H. CORNING 
JUNE -20. 1940 



Scent IV.— An unworked Quarry and view of distant hills, in 6th grooves (or set 
as deep as the stage permits.) 



-6g. 



Closed in. A 



"& 



E i* 



a 'I 



On flat, view of distant hilltops, with moonlight on them ; the upper entrance ia 
lighted with a pale blue tinge in the light. A, A, are cliffs, built as high as the 
space permits, connected by a bridge, B. , which swings on hinges at *F., so that 
when its connection with the r. cliff is severed, the bridge falls downwards and 
hangs by its other end. C, rocky steps leading from cliff top to the stage level. Gr, a 
row of rocks. R. on flat, a mountain torrent. H, H, set rocks, six to eight feet 
high. L. side, the top of the cliff is continued to the front where it forms a platform, 
from which the top of a tree, t K, can be grasped, which tree bends with the weight 
of a man, so as to enable him to swing himself down to c. or l. c. D, a set rock. E-, 
a trap, open, to represent a grave, with mound of earth beside it, and a few shovol- 
fuls of earth in it, to be dug up out of it. The moonlight at first falls upon the Lop 
of R. cliff, and gradually is turned so that, at the end of the scene it lights ail of L. 
side, and falls on l. c. front. 

ACT IV. — Scene I. — A Wood in 1st grooves, same as Scene 77, Act III. 

Scene II. — A Wood scene and Landscape by Moonlight, morning twilight and 
sunrise, in 3d or 4th grooves. A rocky ledge running along across in the upper en- 
trance, to bear the weight of twelve or fifteen persons. Sky sinks and borders. 
Trees and rocks for wings, distant hill-tops on flat in distance. 



COSTUMES {Irish 1798.) 

Harry Kavanagh. — Act I. : Dress of a well-to-do farmer, long frieze coat, long waist- 
coat, drab cord breeches, gray stockings, shoes, black hat. Act III. : Dark suit, 
long black coat, black hat. Act IV. : Green coat, cut in French military style of 
the period, laced with gold, white waistcoat and breeches, black high boots, 
black hat, sword, sash, long cloak, as before. 

Stephkn Purcell. — Act I. ; Walking-dress. Act II. : Change, leather rich dress. 
Act III. : Same as last dress. Act IV. : Change. 

Captain Howard, Lieut. Graham. — Scarlet coats, trimmed with gold lace, cocked 
hats, edged with white ostrich down, with clasp of English royal arms, swords 
gold swdrd knots, riding-boots. 



4 TiEP DAY. 

Mr. Grace.— Act I. : Dress of a well-to-do iurnier. Aged about fifty ; walks with a 
cane. 

Rev. W. O'Cleary.— Priest's dress. Cane to strike with. 

Barney O'Toole.— This character muso speak witn tne brogue which may be less 
perfect in the other characters, x" easant uress, pipe. 

Black Mullins.— Ragged dress, biack breeches, red shirt, ragged fancy waistcoat 
battered black hat ; pipe, lucifer match-box. 

Bed Murtoch.— Wild looking peasant, Shock wig, carrotty. Short sleeves, so that 
his arms are bare from tlie elbow down. He carries a long knife. 

Blind Paddy.— Tattered dress. He sings with the cracked, forced voice of an old 
man who is not a trained vocalist. 

Billy o' the Bowl.— He must be able to coil up his legs under him so as to be car- 
ried on and off in a large wooden bowl. 

Tim with the Wooden Leg.— He bends one leg and has a wooden stump stiapped 
to it when he enters, but he removes it shortly afterwards. 

The Others. — Dress as Peasants, with variety in colors of dress, gray, blue and red 
being the common hues. Act //.Scene last: All have cudgels. 

Soldiers.— English granadier uniforms. Scarlet with buif facings, white breerbfs, 
white cross-belts, black cartridge-boxes, guns and bayonets. 

Kathleen Kavanagh.— Act /. • Neat peasant's dress. Act //. • Somewhat ragged 
and faded dress, black cloak. Act ///. : t~ame as Act II. 

Mary Grace.— Act I. : Girl's short dress of good quality. Acts /I. and IV. : Walk- 
ing-dresses, pretty straw hat, trimmed to match dress. 

Molshee. — Plain dress, colored petticoat, scarlet cloak. 

Widow Kavanagh.— Old woman. Plain dress, cap, white apron. 

Peasant Girls.— As usual. 



PROPERTIES. 



ACT /.—Scene 1st: Stool, R. c, up; pipe for Barney; bucket to well; b?,nk-notes 
in wallet for Pur cell ; pistol for Pun cell to fire ; guns for Soldierb ; lighted 
rushlight in a rude candlestick. Act //.—Scene 1st: Cane for O'Cleary Scene 
2d: Stalls and booths, with slips of calico and other prints, fancy goocfs, eatables, 
liquors, fried cake stand r. 1 e. Act ///. — Scene 1st: Letter, bank-notes in it. 
Scene 2d : Knife for Murtoch ; pistols for Kavanagh ; report of pistol ready, l. 
Scene Sd : Leather bag full of letters. Scene 4th : Lighted, candle. Scene 5th ; 
Spade. Act IV. — Scene 1st : Guns .for Soldiers as before. Scene 2d: Weapons 
for Peasants, mostly pikes ; guns for Soldiers ; two pistols, on?, to fire. 



TIME OF PLAYING-THREE HOURS. 



Music— The overture is a medley of Irish airs, chiefly revolutionary as, " The 
Shan Van Voght," " Wearing of the Green," u Garry Owen," "Who feaxe to calk of 
'98 ? " etc. The other illustrative music will also be Irish, where* practieuble. 

[For Synopsis and Stage-Directions seepages 38, 39, and 40.] 



PEEP O' DAT. 



ACT I. 

SCENE — Cottage and Landscape in bth grooves. Sunset effect, darkening into 
twilight and then darkness ; finally lit by moon. Overture of Irish airs. 
Music — " Sweet Vale of Avoca."' 

Curtain rises and discovers Kathleen Kavanagh seated up R. c, on stvol 
or rock. A few bars of a jig. 

Enter Barney OToole, l. 3 e. He runs softly behind Kathleen and 
covers her eyes with his hands. 

Kathleen. Who's that, now 1 Is it you, Owny Callaghan 1 or is it 
Stephen Purcell T Let me go, do ! (Barney releases her and comes down c. 
disappointed) Oh! it's only Barney! (r. c.) 

Barney. Only Barney ! And for why only Barney '? Sure, I'm not 
the aquil of Masther Harry, hut I'm every bit as good as Owny, and 
sorra a one of me wud change the life wid Stephen Purcell, the old 
tithe-proctor and middleman*s son. 

Kath. I'll excuse your heated words for the once, hut you must not 
speak lies against a gentleman who is as good and honorable as the next 
man. 

Bar Oh ! listen to that ! Oh ! begorra ! all the foine clothes in the 
worruld wouldn't make a jintleman of him that carries about within him 
the black heart of Stephen Purcell. 

Kath. Faith, it's the brave b'y you are to spake against a man behind 
his back. 

Bar. Sure, and some of these days there'll be more than me that will 
spake out fraly before him. There, there, don't be angry wid old Bar- 
ney. It ain't my worruds that could mar or blacken his character. I 
say, darlint, whin do ye say the masther will come back from Dublin ? 

Kath. I expect him to-night. 

Bar. Sure an' he mustn't fall lame on the road home ; for if the 
money isn't riddy to be paid at twilve o'clock to-morrow, old Purcell will 
desth ain. 

Kath. Distrain ! oh, it would kill my mother 

Bar. Faix, ho much the b tter ! her tanner is not the bisfc &i sup* 
times, and mebbe ba 1 luck wouhl mind it. I say, Katty, avick. wasn't it 
a foine night for a stiole on the hills, the night Masther Hairv wint to 
Dublin 1 

Kath. (indignantly). What's that 1 Do you mean to insult me by say- 
ing there is anything between Stephen Purcell and me 1 



6 PEEP O' DAT. 

Bar. Sure and i don't say it. But Dmny Donovan, old Purcell's 
head driver, did say as much. 

Kath. The wretch ! the scamp ! the — the 

Bar. The blackguard ! say it, darlint ! That's what ~ called him 
whin I knocked him down, an' kicked him for falling. 

Kath. I'm glad of that ; you're a good fellow, and a true frind. Bar- 
ney, i offers her hand) shake hands. (Barney grasps her hand ) 

Bar. It's wid-plisure that I take it ; but it would be wid a great deal 
more av ye gave yourself wid it. 

Kath. I can't, Barney ; I can't. 

Bar. Thin take my advice, if you Avon't have me. Don't have any- 
thing to do wid the bad-blooded Purcclls. The brightest day wid' him 
wud be one of shame, sorra a lie I'm a tilling yees. And yees may walk 
heavy on my heart all your days, which is betther than to have him 
thrample yours underneath his fut, and that's how he'll thrate it, darlint — 
dark days ever be to him! Now, don't be angry wid me, Kathleen. 
Take my advice ; if you won't have me, don't have him ! and that may 
hiven bliss you is the prayer of old Barney O'Toole. {Music — " Savour- 
neen Dheelish^" changing to a lively jig, to which, Babstey runs off l. 3 e.) 

Kath. (alune, a). I believe him to be a good, honest boy, but jealousy 
blinds him to the superiority of Stephen Purcell. Don't I know— for 
he's told me a score of times — that he could have for the axing the pick 
of the Protestant quality And for all that, he means to marry me I 
wish he wouldn't talk of a secret marriage, though. Harry would never 
consent to the union, and yet I can't think of a clandestine one. 

[Exit thoughtfully into cottage, r. 

Enter, r. u. e., and along rocky ledge to c, Stephen Purcell. 

Purcell. There's no one in sight on the premises. Now's the time to 
conceal the dangerous documents, (puts packet of papers in hollow of de- 
cayed tree, up c. ) Kathleen must be mine ! {comes doivn c. i by fair means 
or foul ! (c.) If I can but put the Kavanaghs in my debt, all will go 
well ; if not, the brother must be got rid of, and once the girl is left 
alone, the devil is not in me if I can't have my way with her. (l. c.) 

Enter \ r., by cottage door, Kathleen. 

Pur. Good-morrow, Kathleen. 

Kath. You are come i. save you kindly, Mr. Purcell. 

Pur. Mister Purcell ! That's hardly fair, to treat an old friend with 
contempt and coldness. Before I could use you so unkindly, I should 
have to forget my love for you first. Have you sounded your mother on 
the subject 1 

Kath. Yes, she don't like you — you will never, I fear, be welcome in 
that house. 

Pur. Little does thai vex me, if my memory is warm in your heart, 
Kathleen. 

Kath. You know it is. I will speak to mother again and again, and 
perhaps in time she will relent. But you must leave me now 

Pur. So soon ! 

Kath. My brother Harry will be here, and you must not meet him. 

Pur. Oh, yes ! I want to see him on business. I have been striving 
to soften my father towards yours, but all in vain. Unless the money is 
paid at the time he will not forego all Ihe penalties. 

Kath. Oil, sure, he'll not be so cruel. He will give us time. The 
growing crops will be security enough. 



ACT T. / 

Pur. My father will not listen to such arguments, so I have brought 
you the money to pay his demands, (gives pocket-book.) 

Kath. Oh, Mr. Purcell, how good you are. But I must not take it. 
Harry would not permit it. Besides, he will himsell bring back the money 
from Dublin. 

Pur. Pshaw ! Harry is too hopeful, too much of a child. I have my 
fears for you if you rely solely on him. There, do take it, and use it 
freely — that is the only reward I ask for my trouble in getting it — 
(aside) risk is better, for I took it from my father's desk at the risk of 
being shot by him as a thief, (l. c.) 

Kath. Harry will not receive it. 

Pur. Tush ! he can repay it. Let me show him, too, that I would be 
a friend. Take it as a loan — it is little to what I shall do for you when 
you are my wife. 

Kath. Well, I thank you. I will reason with Harry, and I will* try to 
talk over my mother to give her consent. 

Pur. I have some business with Harry. I won't interrupt your wel- 
coming of him. but I will return after, {tries to embrace her) So good-bye 
for the present, {offers to kiss her.) 

Kath. 'starts away . My mother calls me. (runs off by cottage door, r.) 

Pur. (alone) She's as shy as a wood-pigeon ! But wait till I have 
cast the net round her. {looks r.) Maybe it's you that'll be kept at a dis- 
tance one day, my lady, {looks off l.) Whom have we here'? As I live, 
it's Farmer Grace and his daughter Mary — the fairest maid and the 
richest man of the parish. If 1 was not entangled with Kathleen, I 
might turn my attention to that quarter. Well, time may bring that 
about, (goes up c. and exits, r. 4 e Music, plaintive.) 

Enter cottage door, r., Mrs. Kayanagh, supported by Kathleen to c, 
where the former takes a seat. 

Kath. Come along, mother, come out into the sun— it lingers still 
warm in the valleys, and its glow is a cheering light. 

Mrs. Kav. Ah ! an' it's the bold eyes of my boy that has the fire that's 
the sunlight to my sowl. Whirra ! and what would have become of me 
and the poor old grandfather if it hadn't been for Harry and yourself to 
the fore 1 

Kath. Oh, don't be cast down., dear mother. Maybe we have good 
friends yet. 

Mrs. Kav. Friends, alanna ! friends I had, and, galore, my dear, whin 
your poor father so clan 3 forgot himsilf that he died, but much help alL 
thim was whin ould Purcell parsecutod us. I might have been going tol 
the grave thim times, and it wudn't have been borne by friends I was. 
(music. ) 

Kath. But you know we have good friends, mother, now. 

Mrs. Kav. (shakes her head). Where are they 1 

Enter, l. 2 e. Grace and Mary Grace. 

Mart (runs to Mrs. Kayanagh). Here's one of them, anyhow. 

Kath. Mary ! 

Mary Ah, Mrs. Kavanagh, arc you crying 1 If I see a tear in your 
eyes I won't kiss you 

Mrs. Kav. Bless you. (embraces Mary.) 

Grace. Good-morrow, Mrs. Kavanaugh. Good-morrow, my girl 
Kathleen. Isn't the boy here yet ] Sure, Harry's been gone long. 

Kath. He's not returned yet. 



8 PEEP DAY. 

Grace. Sure the boy's making a long stay of it, but he must have 
found out by this time that the streets there are not paved wid goold, as 
the gossoons do be saying betune themselves. 

Mrs. Kav. Sure an' the boy's as much of a fool, an' no more, as you 
are yourself, Mr. Grace. 

Grace. It's quick of wit you are, Mrs. Kavanagh ; but I like to see 
a hen stand up for its brood. It well becomes ye, ma'am, it well be- 
comes ye ! 

Mrs. Kav. Though I say it — that shudn't say it — there's not the aquil 
av my boy in all Ireland. 

Grace. Thrue for you ! But what did he go to Dublin for that he 
c'u'dn t have had at home ? Sure, I w'u'd have lint him the money over 
an' over agin on the axin'. 

Mrs. Kav. Maybe the b'y had a raison of his own for not axin'. 
Maybe it's not to you that he likes to be unner any obligations — in the 
matther o' money laste of all. 

Grace. What raisons ? I don't see why What's the raison 1 

(Kathleen points slyly to Mary) Oh ! bekase I w'u'dn't let him pay his 
coort to my daughter I don't see why he c'u'dn't see a frind in me, if 
not a father-by-law. But to business Mary an' me have come to give 
yees good-bye. Mary's going to Dublin to a convent there, where she's 
to stay for schooling for three years. . 

Kath. What a long time ! and she such a great schollard already ! 

Grace. But it's the good manners I want tached to her. You see, 
I'm a thrivin' man, Mrs. Kavanagh, blissin's to the powers ! an' I shall 
lave my daughter a fortune fit for a lady ; and wid that I want her to 
have the good manners of the jintry. 

Mrs. Kav. (drawing Mart to her affectionately}. Och, an it's not good 
manners that she wants, or them that can iver spile her good heart. 

Grace. Faith, if her mother was alive, it's jealous she'd be of you, 
Mrs. Kavanagh, and with good raisons for that same. I have some 
business down the road. I'll lave Mary wid you till I come back. 

[Exit, l. 2 e. 

Kath. And so you are going away from home, Mary, for three years 1 

Mary. Better friends I cannot find anywhere, and many times three 
years will not make me forget your love and kindness. 

Mrs. Kav. I'd be not sorry to know about the boy — who has he in 
Dublin to borrow the money of"? 

Kath. Harry is no beggar or borrower I see, Ave must tell you the 
story. You know, mother, how Harry does be writing all the nights 
after the farming is done 1 

Mrs. Kav. I know it, an' to my cost ; for in the long winter nights he 
wastes a power of candles — ah, niver mind, it's the only thing in the way 
of waste that I have to blame him for. 

Grace. But it is not waste, mother. He was writing stories and 
verses for a publisher in Dublin; and there he has gone now with some 
of his writings to make money with them. 

Mrs. Kav. Do you mane to say he hopes to get all the money we want 
out of his head % 

Grace. Yes, mother, (smiling.) 

Mrs. Kav. Mercy on us! it's a wondher his head is not turned, (c.) 

Kath I m glad that I have such a brother. He'll be a great man 
one of these days. (r. c.) 

Mrs. Kav. He's a good one, and that's betther ! Mary, acushla, you're 
going away for a long time, and perhaps I shall never see you again. 
Sing me one of our ould Irish ditties to cheer away my tears. 

Mary. Yes, I will sing you one of Harry's favorites. 



ACT I. 



Enter, l. 4 e , Barney 

Bar. Good evening to ye, Miss Grace. 

Kath. Sh, Barney, she's going to sing to us. 

Bar. All right! It's dumb I am! {goes up l., takes a drinJc from well- 
bucket, lights his pipe and smokes, seated on well curbstone. Mary sings an Irish 
song of a sentimental nature. Barney goes to sleep.) 

Mrs. Kav. {dolefully). My heart's full of sorrow. My mind misgives 
me that the boy will be back. 

' Kath. Oh ! how can you say so, when ye know all the love of all here 
is calling him to hasten on the way. 

Enter, i. 4 e. ; Harry Kavanagh. 

Har. {comes down a). Well spoken, sister, {they shake hands, etc., with 
him.) 

Mrs. Kav. My boy ! 

Bar. {starts up). The masther got back ! {puts away his pipe) I was 
as sure of it as ating ! Bedad, it's just in time. 

Har. There, mother, that's loving enough for a time. Kathleen, I've 
not seen a prettier girl since I was away. And Miss Grace, I am de- 
lighted to see you. But you don't ask me if I have succeeded. 

Mrs. Kav. I am so overjoyed by your coming. 

Har. Don't be alarmed, I have the money. 

Kath. You have it. {claps her hands.) 

Bar. {throws up his hut). Hooroo ! the masther's got the money, (l. 
c.) and old Purcell may go to the divil ! {twilight.) 

Har. {gives purse to Mrs. Kavanagh). Take it mother, I ea-neJ it all 
for you. {leads Mrs. Kavanagh to r ) You're not going, Mary 1 

Kath. No ; she'll not go yet awhile till her father comes for her. 
{exit into cottage, Mrs. Kavanagh leaning on Harry's arm) Dear 
brother ! how good and how clever ! how proud I am of him ! and so 
should every one be who has his love. 

Mary. (c. ) I must say I am. 

Bar. I say, whafs that the mother was saying about the masther sit- 
ting all that brass out of his own head. Sure, I hope its not telkng 
stories he's been. 

Mary. He has written some poetry and tales, Barney. 

Bai:. Look at that. now. Only tlr.nk of him telling lies and such div- 
ilmints, whin I used to think he was above all that sort of thing. 

Kath. Keep your pity for your own sins, Masther Barney. 

Bar Sure I wish I knew where to git tome of thim tamo seeds to low 
in my head, and have such a harvest. 

Kath. It'd come to naught, for your head is barren soil, and will raise 
nothing but weeds. 

Bak. Well, I'm afeard so ! There's many a time that 1 bolavo there's 
nothing it is good for but to raise biushes, for my cheeks is always as 'red 
as a roast petaly. 

Mai.y. Dcix't mind her, Barney — she's only joking. You have no 
rea on to blush for e.iher your head or your heart. 

Kath. {coaxingly,. .No, indeed; and I hope you'll forgive me for my 
rudeness, Barney, dear. 

Bali. Go on wid yees ! (Kathleen coaxes him and makes him laugh. 
Music.) 



10 PEEP o' DAT. 



Enter Harry, from cottage. 

Har. What do I hear 1 that you are going to leave us. Miss Grace — to 
go to a school in Dublin 1 

Mary. Yes, for three years. 

Har. For three years. 

Kath. (to Barney). Come along into the cottage. 

Bar. I'd come to go wid you anywheres! But what am I to go in 
there for. 

Kath. (leads Barney r.V Don't you see I They're going to say good- 
bye — and they're sweethearts. Come along. 

Bar. I see. Two is company and three is none. I wudn't be in the 
way for the worruld. 

[Exit, with Kathleen, into cottage. Music — " Savourneen Dheelish." 

Har. Sad at all times is the parting of old friends — it is doubly sad 
now. Renew our engagement, loved one — give me some pledge, some 
plightword as a love-token, on this our first time of parting 

Mary. Some plight you ask me fori Oh! Harry, this separation 
comes to me heavy, and I fear 

Har. You fear! Lo ! the difference of our loves, Mury. You shrink 
from the idea of the term of our first separation ! Oh, Mary, Mary ! 

Mary. Then give me courage to bear with your absence. I cannot 
forget that I have loved you most in the world, but I am going away with 
my father, aud I don't know what may occur. 

Har. Then you doubt me, who, despite your cruel, faltering words, 
does not even at this moment doubt you. 

Mary. No, I do not doubt; but 

Har. If you do not love me I will have lost all that makes life most 
pleasant. 

Mary. No ! I will pledge myself to all you require. Only say what I 
am to promise, and I will swear to keep it true. 

Har. No, Mary, no ; take back all promises between us, and let us 
leave one another free, wholly free. I shall love you aud be faithful to 
you without a bond. 

Mary. No, Harry ! you are the most generous of men, and your frank- 
ness does not release me when my heart is still bound. Harry, I love 
you ; and be the years many and the distance far, yet shall I ever be 
your own that loves you ! (sinks into his grins) 

Har. My own Savourneen Dheelish ! {cease music.) 

Enter, l. 2 e., Grace. 

Grace. Ah, Harry ! so you are safe home at last. None too soon, for 
your mother has been sorely grieving for you. And have you got the 
money 1 Sure, I'm glad of that, though not contint that you didn't come 
to me whin your trouble came. Well, what's the news in Dublin 1 
What do they say of the prospects of the rebellion l 

Har. There's no likelihood of an immediate rising, the government is 
so strong and prompt in repression. 

Enter, r., Kathleen and Barney, who converse with Mary, up n. 

Grace. I'm not sorry to hear that, though we have our share of the 
iron rule. They have proclaimed martial law in this district, did you 
know 1 

Har. No. 



ACT I. 



11 



GrAje. Yes; any one found out of doors aflher dark will be arrested 
and sint to prison, if not across the say. It's troublous times we live in, 
Harry, troublous times. But say good-bye to your friends, Mary, and 
come ; for it's getting late, and we have to go home before we start. 

Kath. It's long to wait till we see you again, Mary. 

Bar. Good-bye, and may you niver die till an angel comes down to 
say you are wanted above. 

Har. Mary! {holds Mary's hand. Music— u Terence's Farewell" — 
piano. ) 

Mary. Dear Harry, farewell. 

Grace {tip c, on the rocky ledge). Och, but this is a poor parting of old 
swatehearts. Oh, I don't mind your giving him a kiss, as you are going 
away for a long time, and thin you're drame of love will be over. 

Har. {indignantly). I have too much respect for your daughter, Mr. 
Grace, to take a kiss under such circumstances. 

Grace, i laughs sneeringly). Ha! ha! 

Bar. And Miss Mary wudn't give the masther one, aither. 

Grace. We'll be late ; we must be gone ! 

Mary, {going up c, stops). Oh ! I've forgot my reticule. 

Grace. Stupid girl ! go back and get it directly, (he looks of, l. 4 e., 
impatiently. ) [Kathleen exiU with Barney into cottage. 

Mary {aside to Harry). Once more, Harry, I will be true ! {they 
hiss. ) 

Bar. {suddenly showing himself at the cottage door}. Ha, ha ! I saw you ! 

Grace {turns). You saw who — saw what 1 

Bar. I saw you thrying to look round your long nose wid your small 
eyes ! and saw nothing ! 

Har. Farewell, my love ! {waves hand to Mary. Mary and Grace ex- 
uent l. 4 e Harry and Barney exuent into cottage. Stage clear for an in~ 
ttant. Gas down. Night.) 

Enter, r. 4 e., to c, Purcell and Molshee. Music, tremolo, bass. 

Pur. Are you sure you have the story pat 1 
Mol. Och, niver fear ! I'll trick him nately ! 

Pub. Then away to a hiding place, and watch for the nick of time. 

[Molshee exits, l. 4 e. 

Enter, from cottage, Harry and Kathleen 

Kath. But I did not see the harm of taking it, as a loan, from Mr. 
Purcell. I thought 

Har. (a). I am angry with you, Kathleen. Where was your faith in 
your brother, that you let a stranger, and worse than a stranger, come to! 
your mother's aid % It was not well thought of you, and it Avas badly 
done of you to receive the kindness from the family that brought our 
father to the grave and ourselves to penury. 

Kath. I only saw the danger of the distraint, the dread of mother 
being killed by the shock, and so I tuk the gift. I am sure it was kindly 
made. 

Har. Kindly or not, I have my reasons not to be under any obliga- 
tions to the Purcells. 

Pur. {comes down l. a). What reasons, Harry 1 I only try to show 
myself your friend.* 

Har. Then take back your money, (gives Purcell the pocket-book') 

♦Kathleen. *Harry. *Purcell. 

r. c. c. l. c. 



12 PREP O' DAT. 

And with it, take all the thanks that the motive of your generosity* enti- 
tles you to. There's that between us that denies my being in debt to 
your father's son, Stephen Purcell. 

Pur. This is not fair, Harry. I am not answerable for my father's 
acts, and even if I were, I should not be debarred from making some 
amends by counteracting them. Deal out but common justice to me, 
Harry, for what I do of my own accord. 

* Har. Perhaps I have been unjust. Let it pass. I ask your pardon. 
[offers his h'<nd.) 

Pur. (takes Harry's hand). There's an end to it. Now, may I have a 
word in private with you 1 

Har. Most willingly. 

Kath. I Avill go and give mother her supper. Remember the new law, 
Harry ; you must not be out of doors after eight o'clock. Good-night, 
and thank you, Mr. Purcell. • [Exit into cottage. 

Pur. {bows). Good-night, Miss Kavanagh. Well, Harry, what's the 
word from Dublin 1 how does the good cause prosper '] 

Har. I do not understand you. 

Pur. I mean the United Irishmen. 

Har. I do not disguise my hatred for oppression, my love for my 
country and my sympathy with the persecuted, but I have nothing to do 
with the league you name. 

Pur. I am surprised at it. I thought you would have seen the Secre- 
tary and have been made one of the leaders for this part of the country. 

Har. No ! I will have no hand in partial risings, whose only result is 
that a number of half-armed peasants are led to death, or hanged, or 
transported, and the whole country given ever to the unbridled license 
of informers, yeomanry and police ! 

Pur. You are right, Harry. I wish I had heard your arguments be- 
fore I joined. There ! you have my life in your hands. You will not 
betray me ] 

Har. A Kavanagh may conspire, but he will turn informer, never ! 

Pur. I will clear myself at once. As a first step I will destroy these 
papers, {goes up to g<t hidden papers fro >n tree) they are too compromising 
not to be my ruin if they fall into the hands of the hostiles. 

Har. (suspeciingly). Papers ! so near my dwelling 1 

Pur. It was the safest spot I might be suspected, and to hide them 
by my house Avere ruinous So I secreted them in the hollow of this 
tree — no one doubts your loyalty. 

Har. What is their purport 1 
I Pur. The certificate of membership, signed by the Secretary, a list of 
'the members, and a plan of the rising. 

Har. So treasonable ! 

Pur. I have committed one folly — I will avoid another. Put them in 
the fire for me, Harry, {forces them into Harry's hands.) 

Har. Why not destroy them yourself? 

Pur. I live far from here, and though I have a pass, the soldiers might 
stop and search me. Thanks, and good-night. [Exit, r. 4 e. 

Har. Good night ! {goes r., thoughtfully \ Strange ! strange that Pur- 
cell's son should be admitted among the United Irishmen. But I must 
get rid of the papers — they are so many vipers in one's hands {at pottage 
door.) 

Enter, l. 4 e., Molshee, remaining at c. on the rocky ledge. 

Mol. Save you. sir. 

Har. Save you, kindly. 

Mol. Can you tell me if yon is the cottage of the Kavanaghsl 



ACT IV. 13 

Hab. It is. (r. a). 

Mol. Sure, and maybe ye'll be afther tilling me av I can find Misther 
Harry Kavanagh at home 1 

Har. No ! for he is here, {comes more c, and puts papers in his pocket.} 

Mol. Are you sure, and it's not joking you are 1 

Har. No ! I am he you seek. What is your want ] 

Mol. Do you know the garden wall that cuts the field beyanf? 

Har. Yes; Mr. Grace's. 

Mol. Oeh, I don't know who's it is at all, at all ; but there's a pretty 
young lady there at this moment who has sint me wid a message. 

Har. A young lady ! and a message to me 1 

Mol. Sure, and why not ] I was a-coming by the spot, whin I spied 
the young lady a-beckoning to me wid a piece of silver in her hand, and 
she said, wud you be plaised to take these worruds to Misther Harry 
Kavanagh, that live? in the cottage forninst ye up the hills — and the 
worruds was, wud you come and hear from somebody that ye know what 
she could not tell you before all the frinds 1 And there ye have it, as 
clane as a clare whistle. 

Har. No, no ; you mistake. I'll not believe Miss Grace would send 
such a message. I am not to be deceived. 

Mol. As if I cared whither you lifted your fut or not 1 {indignantly) 
Look here ! here's the bright thirteener {shows a coin in one hand) tliat she 
give me for taking the worruds. I've brought thini, and I've earned me 
money, and that's enough to quite my conscience. And so good-night, 
Misther Harry Kavanagh ! And the nixt time a lady goes out of her way 
to give you a message, it won't be me, that's Bible true ! Good-night to 
yees, Misther Kavanagh ! And be the same token I've a long way yet to 
go. {aside) I've done that nately. [Exit, r. 4 e. 

Har. I can't think it true. And >et the woman's lack of interest in 
the matter speaks for her story. And Mary Laid something of having 
more to tell me. Poor darling ! Well, lovers must not be too precise in 
such matters. She has, no doubt, some little un remembered fact to re- 
call. I will see her. ( buttons up his coat and runs of, l. 4 e., by the rocky 
ledge. Stage dark, and lights down in the house. 

Enter, by cottage door, Kathleen and Barney. 

Kath. Harry ! Harry ! Harry ! Where can he have gone 1 Mother 
is going to bed. Where is he 1 

Bar. Oh, maybe he's gone up the road with Purcell. I'll go have a 
look for him. 

Kath. No, stay Barney, they may be talking on business. 

Bar. And it's near the time to be indoors. Does he know we are under 
martial law ] 

Kath. Yes ; I told him. 

Bar. Hark ! there's the mother calling you. 

Kath. Run in ! 

Bar. Look sharp. 

[Exuent Barney and Kathleen into cottage. Stage clear for an instant. 

Enter, r. 4 e., Purcell to c. TJe looks about him, looks l., listens, then fires 
a pistol in the air, and runs off r. 4 e. Music — " The British Grena- 
diers " — pianissimo, gradually becoming loud. Enter Barney by cottage 
door. 
Bar. Murder! what's that 1 a gun or an airthquakel Whist! is it 
any of the boys shot? (listens) Sb ! here comes the patrol! (exits into 
eottagc) I must get inside doors new. [Exit. 



14 VEEP O' DAT. 



The soldiers; L., mark time, and then march on by l. 2 e., remaining L. with 
Capt. Howard and Lieut. Graham. 

Howard. Halt ! (cease music) The shot seemed to come from this cot- 
tage. Who lives here, Graham? 

Gra. The Kavanaghs. Very decent people 
How. Attention ! Some one approaches. 

Enter, l. 4 e., Harry. Re does not see the Soldiers. 

Har. (aside). I could not see anything of her. She may have been 
called away, or it — was it only a cheat? (s^s Soldiers) Ah! the sol- 
diery ! what do you want here by my dwelling ? (c. ) 

Howard. Stand ! I'll trouble you to show your permit to be out at this 
hour. 

Har. My pass ! 

How. Then you are under arrest. 

Har Arrested ! 

Enter, l. 4 e., to c, Grace and Mary, wrapped up as for a journey. 

How. Stand ! Who goes there ? 

Grace. Don't aim at me, gentlemen. I'm Farmer Grace, with my 
daughter Mary, going to Dublin by the night coach, and I have my pass. 
How. We are aware of your having a pass, Mr. Grace, and you can 
go your way. As for you, sir, prepare to go with us — you are my pris- 
oner. 

Mary. Harry in trouble ! 

Grace. What ! out after the hour ? Oh, Harry ! sure, didn't I warn 
you? 

How. Oh ! he was cautioned, then ? 

Har. Yes, but I did not think I Sir, I have just returned from 

Dublin, and of the existence of this order I was ignorant until my return. 
I was led but a few steps away from my door, and was on my return 
when you challenged me. Surely, I have not incurred the penalty of ar- 
rest for an offence so trivial. 

Grace. I can vouch for the truth of all he says, Captain, and I belave 
him to be a loyal subject. 

How. Oh, ver} 7 well ; as the young man is found at his own door, and 
you confirm his story, there is not, I think, any need to be particular in 
this instance. 

Har. I beg to thank you, Captain. 

How. Only, as we came up on hearing the report of a gun or pistol, 
you will have to go through the formality of being searched, for having 
concealed weapons in a proclaimed district. 

Har I have none. I can fearlessly submit to any search, of my house 
or my person. 

How. Corporal, do your duty, (a corporal searches Harry and produces 
the packet of letters. ) 

Corporal. Captain, a bundle of papers. 

Grace. Oh, sir, he's a poet, and I doubt not they are some such varsi- 
fying. 

How. Do they answer that description, Graham ? 
Gra. I can hardly see to read — but they are not of that nature. (fuK 
moon rises at back.) 

Har. (aside). Those papers! 



ACT I. 15 

How. Corporal, knock at the door and bid them bring a light. 
Har. Stay, sir. My mother is an invalid, and any sudden shock might 
kill her. 

Grace. Yes, captain, Mrs. Kavanagh is an invalid. 
How. (to Harry ). You can go, sir. 
Har. (knocks at door). Barney! Barney! 

Barney enters from cottage. 

Bar. Oh, murder, the patrol! Oh, masther, masther ! what's wrong 1 

Har. Get a light. 

Bar. And what do ye want a light for 1 Isn't the moon bright enough 
to see thim bla'ghards by 1 [Exit into cottage, grumbling. 

Mary {comes down to beside Harry. To Harry). To you will come no 
harm"? 

Har. I don't know. I've done nothing wrong, but these are bad 
times. 

Mary. I am so afraid ! 

Enter, r., from cottage, Barney, with a lighted candle, and Kathleen. The 
candle is passed over to the Corporal, who holds it for the officer to read the 
papers by.* 

Bar. I cudn't lave the sisther in the dark, and so she's come, (r.) 
Har. Where is mother 1 
Kath. Lying down in bed. 
Har. That's a mercy. 

How. These are highly treasonable documents. You are inculpated by 
them as a rebel. 

Har. They are not addressed to me. 

How. That does not appear. 

Har. But I know nothing of them. They were given to me not an hour 

ago 

How. By whom 1 

Har. Ah ! (gravely) I am m honor bound not to say. 
How. You must answer for this to others than me. 
Har. Willingly ! The truth will come out at my trial. 
How. Do not rely too much on that. The habeas corpus act is suspended 
in this district, and a court-martial deals speedily in such matters 

Grace. You're wrong, Harry ; you should tell whom you had the 
papers from. 

Bar. Sure, av they was given to you, they was given wid a bad de- 
sign. 

Har. If I thought so (aside) But no — they were given to me to 

destroy. Yet that woman — could she have been in a plot 1 
Grace. Harry, it is your duty to tell. 

Mary. Oh, do ! for your own sake ! (half aside, tenderly) for mine ! 
Har. No ! While a doubt remains, a Kavanagh will not turn informe" 
Kath You must, H rry ! It is to save your good name. 
Har. My name is in Heaven's keeping, and I can trust to that to right 



*Grace. *S 

°1 
*d 

*Kathleen. *Howard. + i 

*Barney. *Harry. e r 

*Mary. *Graham * 8 ' 



* 



16 

me in its good time! Who knows me that does not believe me ? Mary* 

you will have faith ! 

Grace. Mary, stand from him ! My daughter's hand must not be 

touched bj r a rebel's. 

Har. I am no rebel. I know not what fate may be destined for me, 

but I will meet it all rather than betray. ( plaintive music till the end of 

Act) Good-bye, and Heaven be with you all ! Oh, Mary! (Mary swoons) 
■•Take her, Barney ! 

Bar. Oh! weirastru! weirastru ! (keening, like the Irish mourners.} 

Har. Kathleen ! our mother — tell her — but not while she sleeps 

Kath. (sobs). Oh! when she wakes ! when she wakes ! [covers her head 

with her apron or neckerchief, weeping. Gi:ace supports Mary , fainted, up 

c. The Soldiers prepare to march off with Kavanagh.) 

cuhtain. 

If curtain is called up, the Soldiers are seen marching off, L. 2 E., with Harry 
in their midtf. Mary holds out her arms to Harry, and is restrained by 
Grace. 

CURTAIN. 



ACT II. 

SCENE I. — Wood in 1st grooves. Music — " Bold Soger Boy." 

Enter, r., Capt. Howard and Lieut. Graham. 

Gra. (laughing'). Ha! ha! Captain Howard, le beau sabreur, Hie gallant 
of all the ball-rooms caught at last ! 

How. Confound you. my dear Graham, don't laugh so much. 
Gra. Who will believe it among the ladies where you are a favorite 1 
You have withstood the accomplished beauties of civilized life, only to 
fall captive to the simple charms of a wild Irish girl, with the untrained 
walk of a Highlander, and a mouth full of Munster brogue, (laughs) ha ! 
ha! 

How. Cease your raillery, Graham. Mary Grace is not an uncultivated 
girl, but a lady who would hold her own with the best in the most fash- 
ionable circles. 

Gra. Perhaps you deny the brogue 1 

How. It is not brogue, but a softening of the harsher accents of our 
speech, which colors our language more brightly, and makes music of 
her dullest sayings. As for her other charms, she will have ten thousand 
pounds from her father. 

Gra Ah ! that's the strongest point in your argument. Where did 
you make her acquaintance 1 

How. When I first came to this part of the country to seek the re- 
doubtable rebel leader, Capt. Peep-o'-Day. I have surrounded him now, 

I "believe 

Gra. Yes, and he will soon be captured. 

Enter, l., Father O'Cleary. They salute him. 

O'Cleary. Good-morning, gentlemen. I see that you have not been 
made miserable by hearing my late sermon, when you honored my 
poor little parish church with a vis' 



ACT II. 17 

How. And very much we were edified by your discourse, believe me, 
reverend sir. 

O'C Nabocklish ! Much attention you paid me. Sure, I saw where 
your ideas wandered, and so did poor Mary Grace, for she didn't dare to 
lift her eyes up from her prayer-book ; and it wasn't from devotion she kept 
them down, aither. Oh, you may congratulate yourself on having made 
a convert there ! 

How. I am sure you overrate my persuasive qualities. They by no 
means compare with j 7 our own. 

O'C. Bathershin ! Not that I blame your taste in the laste, for she is 
the swatest and purtiest lamb in my flock. But I'll have my revenge on 
you. I mane to rob you of the glory of fighting. 1 have sent a memo- 
rial to Dublin, and I expect to get an answer by to-night's mail, asking 
for pardon for the deluded men that will lay down their arms. 

How. I am glad of it, though it will rob me of my promotion. 

O'C. I'm sorry for you, but I hope peace won't drive you from this 
quarter, for an Irish Catholic praste is the very one to properly appreci- 
ate an English Protestant gentleman,— though it's mighty few of thim we 
meat on this side of the water. I'll not detain you from the lady, for I 
forgot to tell you, Miss Grace is going out sketching, and I'm a-thinking 
she wants somebody to carry her portfolio, {to Graham, r.) I beg your 
pardon, lieutenant, but are you anything of an antiquarian 1 

Gn a. Not much. 

O'C. Because there is a beautiful round tower out there beyond, 
which no body can iver make anything of. I'm sure you'll be able to 
give us a lucid opinion upon its uses. If you'll wait for me at my house, 
you'll find there as elegant a bottle of whiske} 7 as iver made a man proud 
that he kept the still that could produce the like, {aside to Graham) We 
want to lave the captain alone to have a tete-a-tete with his sweetheart. 
You understand ! 

Gra. Yes it's clear. I'll go and draw the cork. [Exit r. 

O'C. Well, Captain, you may rely on my good word with her father. 
It's my interest to keep such a good example of Sassenach subjugation 
to the Irish girls' arms before my parishioners eyes. Whist! by the way, 
one favor, captain — you must let me have the christening of your chil- 
dren! 

How. Bearing in mind a certain old proverb, I think Ave had better 
wait until they appear, {to l. laughing) Believe me, I am as much in- 
debted to you as a gentleman can be. [Exit, l. 

O'C. Pooh, pooh ! Sure, Captain, one gentleman can't be in another's 
debt. (c. Voice of Barney singing, heard off r.) 

O'C. Here comes one of my parishioners in a happy state of prepar- 
ation for the fair. 

Enter Barney, r. 

Bau. {singing-. " And Kitty Gallagher, to the divil you may go ! " {he 
takes his hat off when first O'Cleary speaks ) 

O'C. Faith ! that's a very uncharitable ending to your sentimental 
hcn ; T, and if you'll take my advice, my friend, you will keep away from 
..?, girls you mintion. 

Bar. (.l. a). Sure I don't know aither of them, yer riverince, and the 
song is an old one, and I didn t make it. 

O'C. {at c.). And ye don't mend it aither, by your singing of it. 

Bar. It's not ivery poor boy that c'u'd have your riverince's swate 
voice at a song. 

O'C. None of your blarney, my man. Stay a bit. I want to ask ye 



18 PEEP O' DAY. 

some questions. Do you know enything about the family of the Kav> 

anaghs 1 

Bar. Kavanagh ! sure it is mesilf that's own foster-brother to 
Masther Harry, that was transported for bein' consarned in rt the 
troubles." Och, thin all things wint to the bad ! the poor grandfather 
that was bidridden, c'u'dn't bear wid the bein' druv from the cabin when 
old Purcell made the seizure. The mother held out well, though, hop- 
ing for to see her boy again till the last. But two years ago, her health 
failed her intirely, and thin she died. 

O'C. And can you tell me what became of the daughter, Kathleen "? 

Bar. {hesitating). Sure, an' I don't like to tell. 

0*C. Speak out. 

Bar. Well, sir, she went to live in my cottage, and there she stayed 
till she wint off all of a suddint, to be married, they sid, to Misther 
Stephen Purcell. 

O'C. What ! marry the wretch who transported her brother 1 

Bar. (fiercely). Yes, bad luck to him for a 

O'C. 'Sh! 

Bar. Mustn't I say it, your riverence 1 

O'C. No! 

Bar. It's mighty hard to swaller it. Well, now, Misther Purcell says 
there was no marriage, and Kathleen being out of the way, the sthory 
goes that he is making up to Miss Grace himself. 

O'C. To Mary Grace 1 

Bar. Yis, true for you. 

O'C. It strikes me that this Mr. Purcell is a fine specimen of the suc- 
cessful scoundrel. But though Heaven, for its wise purposes, may seem 
to let the villain prosper for a while, yet in its own good time it will deal 
out punishment ; and even while the unrighteous seem to be at the 
height of their triumph, their end is approaching surer and nearer. And 
now to another matter. 1 think you know of the Peep-o'-Day Boys 

Bar. i 'very innocently). Is it me, sir % 

O'C. Yes, " me, sir." 

Bar. {playing with his hat, looking down sheepishly, and speaking with hes- 
itation). Well, sir, it isn't in the nature of things, is it, now, sir, for me 
that's working under Mr. Purcell to know anything of thim— — 

O'C. You know all about them. 

Bar. Bat, sir," I know a boy 

O'C. {chuckles). Aha! 

Bar. That knows another boy — {pause) that knows another boy — 
(paused that heard of a boy — (pause) that knew a boy who knew one of 
the Peep-o'-Day Boys 

O'C. I don't think that boy is very far off at the present moment. 
Well, I am expecting an answer to a memorial I sent to Dublin to get a par- 
don to anyone concerned in the disturbances, and I want the misguided 
men to know that any rash act of theirs, of private vengeance or outrage, 
will preclude them from all participation in the benefits of the pardon 

Bar. That's very kind of your riverince. Sure, I'll pass the hard word 
round that there's good luck for thim. 

O'C. I'll trust you that they'll have the news soon, (going r.) S 
good-morning, good-morning to you, my boy ! [Exit, r., laughing. 

Bar. (looks after him as he exits it.). More power to your riverince! 
Long life to your riverince, and glory afther. It's proud we are of you 
in the pulpit, though you are too hard on the poor boys that's standing 
up agin oppression. Ah ! that black villain ! It's mesilf that wonders 
that I have not shot Purcell long ago. I've done it, in my dhrames, more 
than once. (r. c. Music — " Has Sorrow Thy Young Days Shaded 1 ") 



ACT II. 19 



Enter, l., slowly, Kathleen, unseen by Barney, who faces r. 

Kath. (l. c ., aside). The old house is gone. Which way must I turn 
to find where he lives now 1 I am afraid to speak to any one — I shrink 
from all upon the hills where I used to dwell, for fear that I bear on my 
face what they believe self-reproach. Ah ! yonder is a poor man. At 
least, a man will not be so stern and harsh as a woman, {she does not look 
at Barney as she speaks) My good friend, (Barney looks at her and recog- 
nizes her in amazement) can you tell me where Mr. Stephen Purcell lives 1 
{recognizes Barney) Oh ! 

Bar. Kathleen ! 

Kath. {hides her face in her hands and crosses to l. c. , Barney crossing to 
l.). Barney ! Oh, this is worst of all. 

Bar. Why 1 Why worst of all, darlint 1 Do you think I will blame 
ye 1 I'd sooner cut my tongue out at the roots than spake one worrud 
agin ye ! 

Kath. Ah ! that's what I was afraid of — it's your kindness to me that 
breaks my heart. 

Bar. We thought you was dead. 

Kath. Ah ! that's the only wish of him that sent me away to a great 
distance for his own wicked ends. So he thought to be rid of the living 
proof of our marriage. Yes, maybe it is not much the better that I am 
married to this man that betrayed my brother — but I am his wife, and 
not his light-o'-love ! 

Bar. I pity the man that wud say you was, before me. 

Kath. What have I to live for 1 I have no friends. My mother is 
gone — my darling brother Harry is thousands of miles away, pining for 
even our desolate home, if not already dead of a broken heart ! (wrings 
her hands) I was left without protectors, and the tempter came ! 

Bar. Poor thing ! poor creature ! 

Kath. I became his, and never have I forgiven myself — so how can I 
beg you to forgive me ! Tell me, Barney, is it true — is it true that Ste- 
phen Purcell seeks the love of Mary Grace'? 

Bar. {evasively). Well, the talk's that way. But that's only more air 
added to the wind. She won't be afther casting a look at the likes of 
him. 

Kath Where does he live 1 Tell me, Barney, for I must see him, and 
force him to own me as what I am. I will balk him in this last scheme 
of his, if only for poor Mary's sake. Tell me ! you will tell me, Bar- 
ney '? 

Bar. Well, you see, on the top of that hill, (points of r.) the 

great new house that's built for Misther Stephen Purcell, Esk-quire ! as 
he calls himself. But take my advice, and don't you go near him. 

Kath. I must. I do not fear him. I will wring from him a public 
acknowledgment of my position. Oh, if my brother Harry ever should 
come back, he might be angry with me, but not ashamed of me, for I 
have preserved through all the one thing dearer to me than life — my 
honest name ! [Exit, r. 

Bar. (a). Have I done right in letting her go 1 {goes r., stops) Sure 
he dare not murder her in his own house. Well, my mind's not aisy. 
I'm off to tell Peep-o'-Day of this, {goes l., stops) Hold: What's that! 
M.ss Grace and the English captain — ah ! it's afeard I am that she's for- 
got all the love she had for Masther Harry. Ah ! that couldn't have 
been the rale feeling, when ye put it beside that in that poor crature's 
heart, {looking r.) Sure that's the love of all loves — which makes an angel 
mate wid a demon ! [Exit, r. 



20 PEEP O' DAT. 



Enter, l., Mart and Howard. 

How. My dear Miss Grace, I assure you I am in earnest, (l. c.) 

Mary. Ah, Captain, you mustn't think we girls in Ireland so ignorant 
as not to recognize flattery when we meet with it, however well disguised. 
(a few notes on a harp, sounded abruptly, looks of, r.) What a burst of 
music on the air. Oh, I see ! it is a poor blind harper and a woman, 
trudging along to the fair, under the trees — look, Captain Howard, is it 
not like a glimpse of Arcadia 1 

How. (tenderly). It wants a Phyllis listening while a Damon sings. 

Mary Ah ! you still spoil all by intruding with love. 

How. Or win all. Miss Grace, we have not been long acquainted, yet 
long enough for me to have the good opinion of you confirmed that I en- 
tertained at first sight. I have your father's good wishes, and now I beg 
to be allowed to be considered as having some right to claim your com- 
panionship. 

Mauy. This confession takes me by surprise, and now I must tell you 
the story of my heart 

How. What 1 have you loved before ] 

Mary. I have loved, and shall only love that once. Hear me patiently. 
I was young, a mere girl, when I had a boyish companion, who held the 
place that you sue for. But seven years ago a serious accusation fell 
upon him, and as he could not disprove the cunning charge, he was taken 
away from home. 

How. Ah ! transported ] 

Mary. That word is applied to criminals, and he was none, (music, 
piano. ) 

Enter, l., remaining there at back, Harry Kavanagh, unseen by the others ; 

he is cloaked. 

Now and then, I think I have forgotten him ; and, indeed, my remem- 
brance of him is no longer vivid, yet do I fear that his return may realize 
all my misgivings. In the deepest fit of my forgetfulness, one look from 
him, one word of his, may move me to the soul. 

How. Nay, it was but a childish fancy — you only think so. 

Mary. Would you be content with a wife who could only esteem and 
respect vou 1 (Howard offers her his hands, but she does not take them.) 

How.' Willingly! 

Mauy. And will expect no more? 

How. Nothing more than what will come in time. I ask you still : 
will you become my wife, (she is about to take his hand, when music is heard, 
and she recedes and listens spellbound. Music, a harp plays " Savourneen 
Dheelish," softly, gradually more loud, off r.) 

Mauy. Thai, strain! (looks u.) How it conjures up the past ! beseems 
to stand before me now ! (Harry glides off l., slowly) His memory is 
about me in the air, and what I breathe seems a silent, subtle reproach 
to me for breaking faith. The momentary treachery is past, [goes l. a 
few steps) Captain Howard, pardon me — you must give me time to think 
over your proposal. In the meanwhile, let me not see you in n.y father's 
house. 

How. As you please. Then, I have the honor to take my leave — alas, 
not as an accepted lover, but not as a hopeless one ! In the spirit of a 
mere acquaintance, I withdraw, (salutes Mary politely.) 

Mary. Farewell ! .1 wish to be alone — to weep ! 

{Exit l. Cease music. 



ACT II. 21 

How. Now, who would have thought a wild Irish girl would have had 
half so much delicacy. Plague lake that harp — but for it's confounded 
tinkling she would have been mine. 

Enter, r., Connor, the Harper, and a Woman. 

Connor (whiningly). Would yer honor give the poor harper a pinny to 
hilp him on his road to the patthern 1 

How. Well, since I have sent him to the devil, it's nothing but right 
that I should pay the toll, (gives coin io Connor and exits, l.) 

Con. Och ! and may hiven bliss yer honor, and may you niver want 
money till I pay ye this back ! [Exit, with Woman, l. 

Scene changes to 

SCENE II. — Landscape, Holy Well and ruins in 6th grooves. 

Discover Peasants and country Girls walking about stage, purchasing of 
stall-keepers. An Old Woman frying cakes, r. 2 e. Business of a fair 
kept up during the progress of the action in front. 

Enter, up l., Lieutenant Starlight, and enter, r. 1 e., Sergeant Moon- 
shine ; they meet at c, and exchange a sign of the hand. 

Moonshine. What's the news % 

Starlight. We are to kape quiet. Troth, and that frets me. 

Moon. So it does me. Whin will we have some fun. 

Enter, up l , Barney, coming down c. 

Bar. What are you grumbling about now 1 Are you still sorry yees 
haven't your heads broke or a bullet through you I 

Moon. Sure, the soldiers are afoot, and we might aisily cut off a de- 
tachment of thim. 

Star. True for you- 

Bar. An' so spile all the good things that's promised us av we don't 
make trouble. 

Star. I'll go round an' see what the rest think av making a move. 

Bar No, ye won't. What's the wordl 

Star Peep-o'-Day ! 

Bar. Then shut your mouth, and kape it shut— or you'll niver see it ! 
{they go up c. together, talking. Barney goes to Woman, r. 2 e.) An' what's 
thim cur ous things, alanna 1 

Old Woman. Cakes, you bla'guard ! 

Bar. (innocently). An' is thim cakes ! (takes one up and hits it with his 
fist) Sure, and any stone on a parish road w'u'd be as tinder, av it were 
biled soft enough. (Old Woman makes a blow at him with a cake, which he 
avoids. It hits a Girl passing, and she and Woman wrangle for its having 
damaged the Gikl's dress Barney laughs and incites them to fight ) 

Enter, r., proscenium e., Grace and Purcell, to c. 

Grace (gives Purcell pocket-book). There's the money, and now 
there's nothing further between us, I belave. 

Pur. Thank ) T e, kindly ; but I don't think that is all. What have you 
in the way of answer for my proposal to your daughter's hand ? 

Grace (embarrassed). Well, Mr. Purcell, with all respect to you, I can't 



22 

give ye any hope there. Frankly, I am sure that ray daughter will no* 
consent to marry any man whom she has not a love for, and it don't seem 
that she'll ever have that for you. 

Pub. You mean that she loves another 1 

Grace. Well, that's as it may be. I've a great liking for you myself, 
but I can't force her to wed any man. • 

Pur. As you please. We needn't be the less good friends for that, 
though. (Grace gives him his hand. Aside) But Mary Grace shall yet be 
mine ! {goes and takes seat, r. c , and is in deep thought. Grace exits l.) 

Bar. {comes down beside Purcell. Abruptly). Maybe, whin ye're done 
talking to yersilf, ye'll talk to me a bit ! 

Pur. (rises and comes forward). Ah! You're the very man I want. 

Bar, I can't say the same, Avorse luck ! 

Pur. I strongly suspect that you are, if not one of the Peep-o'-Day 
Boys, nearly allied to them — that is, you know their meeting-places, their 
hand-grips, and other signs of recognition 

Bar. Is it me, sir 1 a poor b'y that worruks on your honor's own es- 
tate — me know thim 

Pur. You know all about them. And it's money in your pocket that 
you do. 

Bar Oho ! well, sir, I'm a-thinking that I do know somebody who 
knows something of thim. 

Pur. I want your assistance in a project I have formed. I am in love 
with a young girl, whose father refuses his consent to our marriage 

Bar. {sneeringly). The hand of a Purcell refused wid scorn ! Sorra a 
one of me will belave that. 

Pur. Now I want you and some more to carry off the girl, as if you 
were Peep-o'-Day Boys, and, at a given spot, 1 will come upon you and 
make a feint of rescuing her. But you will be the masters, and there hap- 
pening to be a praste handy, you think it a fine joke to marry the girl to 
me then and there. 

Bar. Murder ! it's a beautiful schame ! 

Pur. When the knot is tied, you will let us escape ; and whether her 
father is grateful or not for my saving of her, the marriage will be a fact, 
and that's all I ask of him. 

Bar. And whin is the abduction to come off. 

Pur. I have not made all the arrangements yet. 

Bar. Why don't ye apply to the rale Peep-o'-Day Boys 1 

Pur. Because I am afraid to trust myself among them. 

Bar. Ha! ha! 

Pur. And then I can trust you. Here's money on account, {gives 
Barney a bankbill) I know you. {goes up l.) 

Bar. (aside). Do you'' Don't be too sure of that (goes up r. and col- 
lects Peasants around him) Boys, sure there's a man (pointing to Pur- 
ceel, up l , who thinks bekase we live on his lands that we belong to 
him, body and sowl ! my sowl isn't the belongings of that divil yit ! 
Here, you black-hearted, treacherous spalpeen, here's the money ye give 
me ! {tosses note to Purcell) Do ye think ye could pay me to do yer 
dirthy worruk 1 

More Peasants enter, from r. u. e. and elsewhere. All of them gather together 
and Purcell retreats, r., before them. They hoot and groan at Purcell. 

Peasants. A-a-ah ! down wid him ! 

Bar. Who turned the old man out of his own door 1 

Peas. A-a-ah! 



ACT II. 23 

Bar. Who sold up the widdy and the orphan'? Who thramples on the 
young and unofnnding, and threads the childer under fut % 

Peas. A-a-h ! {they threaten Purcell.) 

Pur. (r. 2 e.). How dare you howl at a gentleman! You're a pack 
of rebels, and I'll have justice of you ! Very well, my fine fellows ! I'll 
send Donovan and the drivers here, and they'll make short work o' ye ! 

[Exit, r. 2 e., by archway in ruins. 

Bar. Ha ! ha ! oh, will they 1 You come back wid thim, and see what's 
their tratement. 

Star, (l , looking offh ). Ready, boys ! here comes the soldiers. 

Peas The ridcoats ! the Sassenachs ! {flourish of sticks.) 

Bar. (to l. c. . Keep back, you villains ! (Peasants go to r. c.) 

Enter, l. 3 e., Grace, Capt. Howard and Lieut. Graham. 

Bar. It's Mr. Grace and the English officers. Be on your good beha- 
vior. (Peasants bow as Grace <w?^ Howard enter, their manner being as smil- 
ing and peaceable as that with which they drove Purcell off was hateful and 
violent) Sure, the soldiers are gintlemen, and anyway, no one of thim's 
but worth a dozen of thim sneaking per-lice and dirthy, cowardly yeo- 
manry. 

Peas. Ha! ha! 

Grace. Perhaps you will stay awhile and see the fun of the fair. 

How. By all means. 

Grace. Bat you must'nt stay too long, for it generally ends in a fight. 

Enter, n. 2 e., Black Mullins. As he comes to c, the Peasants avoid him 

and point at him. 

Mullins (aside). Mr. Grace and the Sassenach officers. There may 
be something for the masther to pick up here, {he listens i • Grace and 
Howard, who are l. c. front, pretending to be filling his pipe, or other 
business.) 

Ghace {to Howard). So you have come to conclusions with my 
daughter ] 

How. No ! she has asked me to give her time to reflect pon my offer, 
and I had to accord it. 

Grace. No ! there you are wrong. Never let a girl delay with shilly- 
shallying. Never mind, I'll befriend you in the suit, and I'll get you her 
answer sooner than she would give it. Where can a message find you 1 

How. At the barracks, unless I should be out on duty. 

G .ace. I will send a boy to you as soon as she gives her consent. 
(goes l. front with Howard and Graham.) 

Mul. {aside). That's good. Misther Purcell shall know of this ! 

[Exit, up l. Music. 

Enter Shelah, Paddy the Piper, Paddy's Wife, Tim, Billy and otk& 
Peasants at upper entrances, l. and r. All cheer and bring Blind 
Paddy and his Wife down c. from the back. Blind Paddy sings 
Irish national revolutionary song of 1798, such as the " Shan Van 
Voght." 



24 



THE SHAN VAN VOGHT.* {song,) 



Paddy sings like an Old Man who does not know music very well. 

I. 
Oh, the Frinch are in the the Bay, 
Says the Shan Van Voght ; 

Oh, the Frinch, etc. 
They'll he here widout delay, 
And the Orange shall decay, 
: Says the Shan, etc. 

II. 
Oh, what colors should he seen 1 
Says the Shan Van Voght, 

Oh, what colors, etc. 
$* Where our father's graves have heen, 

But our own immortal Green ! 

Savs the Shan, etc. 
Ill 
Oh, shall Ireland yit be free ] 

Savs Shan, etc. 
Yes, Ireland shall be free ! ( pause. All cheer and brand- 
ish their sticks and wave their hats.) 

From the cintre to the sea ! Then, 
All. Hooroo ! for Liberty ! 

Says the Shan Van Voght. 
All {cheer three times). Hooroo, hooroo, hooroo ! 

Paddy {holds out his hat). Kind Christians and pious Romans have 
charity to the poor dark man, born blind in his fifteenth year ! 
All (laugh). Ha, ha ! 

Pad. Who hasn't seen a meal these many long years. Shower down 
your coppers — sure ye wudn't lit the English shame ye by giving me 
that goold coin I see in his hand before any of yees have made a copper 
lining to my hat. 

All (la-igh). Ha, ha ! 

Pad. Ye shall have the prayers of the poor man widout sight, that 
will open wide to ye the gates of hiven ! The trifle of a fippenny will 
give ye the pass. 

How. Well, {offers coin) the gain is very great and the expense so 
slight. 

Pad. Ye will plase to put your offerings in my caubeen and not in the 
good crature s hand, or divil a bit of it shall I see at all at all. (Paddy's 
Wife and he wrangle.) 

Wife of Paddy. Is it you that deprives your lawful wife of the only 
gain she ever has by bein' wid you 1 Is this my reward you miserly old 
mole, for me trudging a weary way wid your childer and pipes on me 
back, whin all you carried to lighten my road was the pipe o" tibacky in 
yer dirty mouth ! 

Pad Aisy, now, aisy ! Sure the good pipple all know what you are 
best at. 

Paddy's Wife. Do they 1 an' what is that ye mane, ye prince of bad 
company ! 

Pad. Hould yer tongue while the philosopher replies to you! Para- 
boliically spaking, yer only fault is the mighty nate way ye have of 
turning up yer ilbow whin ye are lookin' for the last drop of a glass of 

* &han Van Voght, pronounced " Shawn Yawn Vo«ht." 



ACT II. 25 

whiskey ! (Paddy's Wife begins to beat Paddy, when the Peasants hustle 
then up c., laughing at than.) 

Peas. Billy ! clear the way for Billy o' the Bowl ! {they carry Billy 
in his bowl, down l c. to front.) 

Billy. Plase to renumber wid your ginerous alms the poor boy that 
has lost the entire use of his ligs complately 

Bar. Sure he has them under his bowl and he can work thim like 
any machine. (Howard gives coin to Billy who is taken up in his fowl and 
carried up L. c.) 

Tim {with wooden leg coims down l. c. to front). Och, sir, an' it's me is 
the desarving object ! 1 "m obliged to go through the wurruld on onl one 
fut, since I had one lejj cut off by accident of being run over by a po&t- 
chaise on the Dublin Road 

Bar. Don't you belave him, yer honor ! He can walk on both of them 
as well as the next man. Make him dance for your thruppenny token! 
(Tim takes off his wooden leg and aims a blow at Barney. Business between 
them.) 

All {cheer). Clear the course! give thim an open space! {sack race; 
men in sacks jump in (!( i. 3 e. and cross each way, r. 2 E. One falls at c*., 
and the others roll over him. A pig xoith a greased tail is driven on. Comic 
business of chasing it until it runs off. All this action must be done with all 
possible animation, without the slightest pause.) 

Star Here's Connor, wid his harp. Let's have a jig. 

Bar. Hooroo for the harp of ould Ireland ! 

They bring Connor doivn, l., and scat him and the Fiddler, l. 2 e , on the 
well, so as to be seen above the heads of the others. 

All (cheer). Hooroo ! 

Bar. Now, then, who's going to join in a jig ! 

Shelah {jumps and claps her hands). Me ! 

Bar. Every girl choose her partner ! Who's widout a mate 1 

She. Me. me, me ! 

Bar. Me agin ! Who's me ] 

She. Mesilf! 

Bar. Three me's and one silf ! 

All {laugh). Ha, ha! 

Bar. Arrah ! go on wid ye ! (pushes Shelah down l.) 

She. (to Howard 1 . Av you plase, sir, I d like to dance wid you ! 

All. Ha, ha ! 

How.« I don't know much about it. I'd rather be excused. 

Bak. Oh, no, sir. Whin a purty girl axes ye to dance, ye must do it, 
or pay the piper. 

How. The instrument is out of tune. 

She Oh '. that's all one whin a girl has a good spring in her le<rs. 

How. What's the forfeit ! 

BxVi:. You must kiss an ould woman ! (pushes forward Widow Ma hone 
and ano/hrr, a o.l Here's a pair of beauties. You can have your choice. 

How. O.i anything but that ! I won't object ! And here's for the 
pipe: - , throws money, l.) 

Music — jtg. All dance In the front Howard and Shelah. During the 
fianale, Howard exits, l. 1 e.. with Grace and Graham. At end of the 
jig, enter, r. i e.. a Peasant. 

Peasant. Bu^lalaghs, boys ! Purcell's men are a-coming ! 



26 VEEP O' DAY. 

Bar. Clear the ground! take away the old women and the English 
officers ! 

Music Peasants prepare for a fight. Women go to l. side. Peasants 
stand along l side, from c.uptui, front, some taking off their coats, roll- 
ing up their sleeves, etc. Other Peasants enter, r.. at all the entrances, 
and they fight Barney knocks one Peasant down at l., front, and 
drags him to and fro by one leg, the Man striking at him with his stick 
all the time. When all are engaged Father Cleary enters by the 
platform, r. 4 e., and holds up his hands. The Fighters cease and 
fall on their knees, bowing their heads to him. Barney is the last to be 
aware of his appearance, and he releases his Man, and throws himself 
forward quickly, into a kneeling posture, with a submissiveness highly con- 
trasting with his Jierceness in the fight. Tableau. 

slow curtain. 



ACT III. 

SCENE I. — Interior in 2d grooves. Gas down. 
Enter, d. f , Purcell and Mulltns. 

Mul. You're going too fast, master. Here's your first wife hardly 
gone, and you think of taking Mary Grace to your house. Have a care, 
master, for she won't come with a will, for I fancy she has fallen in love 
With the English captain, and, anyhow, M : Grace is favorable to the 
Sassenach. 

Pur I know what I'm about. Once let me get Mary Grace in my 
power, and her father will be glad to be contented with her becom.ng 
my wife in a legal way. 

Mul. Maybe that would be all the worse for you, thin. It 'ud be 
mighty awkward if Kathleen were to turn up (it. c) 

Pur. (c.l. It would be the worse for her. A desperate man is not to 
be trilled with. If s.he should return from her hiding place, I should 
leave you to tell me what would become o her, Mullins. But I am safe 
enough in that quarter. As for my Saxon rival here 

Mul. Listen, master. I overheard Mr. Grace arrange wid the captain 
to send him word whin to come over to his house to hear the girl's con- 
sint. Some of the boys have it all made up to intice the nrssinger into 
the shebeen, where they'll docthor his whiskey, and thin Murtoch will 
take his place as She guide. 

Pur. But should the Englishman suspect 1 

Mul. Arrah ! what of that 1 Sure, Murtoch is not so particular— av 
the captain offers to turn back, he'll not let him— sure the officer, wid 
his turf-cutter, is not of much account. 

Pur. Then all is well ! 

Enter, n. v., Kathleen. 

Kath (comes down c.) I am <rlad to hear that, Mr. Purcell ! (Purcell 
and Mullins recede to v.., in surprise. Kathleen l. c.) 
Mrr, The divil ! Kathleen agin ! 
:*j You have dared to return 1 
Kath. Yes ; I want to speak with you alone. 



ACT III. 27 

Pur. (to Muxlins, aside). Wait for me outside. And tell the old 
woman, Molshee, that 1 want her. (exit Mullins, d. f.) Now, what in 
the fiend's name has brought you here 1 Why have you not remained in 
the retreat I provided for you ? 

Kath. I have come to force you to make our marriage public. 

Pur. Our marriage 1 I have told you over and over again that it is no 
marriage. We are of different religions, and our union was solemnized 
by a Roman Catholic priest only and besides he was unfrocked, sus- 
pended from holy orders by his superiors 

Kath. But still he was a priest! and if not, the proclaiming of the 
truth will clear me in the eyes of my neighbors, and render further guilt 
of yours impossible. That will prevent Mary Grace ever having the doom 
which has fallen so bitterly upon me. 

Pur. Silence ! 

Kath. It is for her I plead, and not for myself. 

Pur. Enough ! don't provoke me, or 

Kath. If you must strike, let it be a death blow ! Kill me ! that will 
spare me the pain of seeing Mary Grace wedded to one that has caused 
me the utmost regret in life — though he is my husband. 

Pur. Why did you come here when I had forgotten you'? (gors up c.) 
If you are my wife, obey me and respect my wishes. I will devise some 
means of sending you out of the country, where you will be no more a 
misery to yourself and an eyesore to me. Don't quit this apartment till 
I come back. Don't stir ! (at d. f.) I'll be back in a minute. 

[Exit, D. F. 

Kath. (alone). There is that in his cold, sneering tone which frightens 
me. If I am his wife, as he says, it is my duty to obey him. And he bids 
me remain here. I cannot trust him. I see my folly now in venturing 
into this trap alone, (goes to d. f. and tries to open it) Locked! (recedes 
doivn c, alarmed) Oh, I am a prisoner here ! What does lie mean to do 
with me 1 He can keep me, and to whom could I complain I I am his 
wife, and he only uses his rights over me. Oh ! by some means I must 
leave this place, and at once (rushes wildly about looking for an egress. 
Knock at window, r. in f. Kathleen stops at c.) What's that 7 

Enter, by window, Molshee. 

Mol. (remaining up r., mysteriously). Whist ! are ye alone 1 

Kath. With misery, yes. 

Mol. You are Kathleen Kavanagh 1 

Kath. No ! I am Kathleen Purcell — though that is not much to boast 
of the only thing I owe to him without a regret. How did you find 
your way in here ? 

Mol. I crept through the plantations — for I was afeerd that some of 
Purcell's dirthy villains wud be afther stoppin' me, and thin it wud fare 
ill wid me. But sure, wudn't I do anything for the darlint boy that's 
got so manny inimies and not a friend. But it'll come right one of these 
days. Kape up yer sperrits, darlint ! There's a good time coming ! 
Here's a bit of a letter that he gave me. (gives letter to Katjileex ) Don't 
luk at it till I'm gone. Good-bye ! Ill crape out through the planta- 
tions agin, and tell him that's all snug an' you wudn't decave him. Good- 
bye ! it's a merry meeting I wish ye ! (goes up r. Aside) I did that nately. 

[Exit by window. 

Kath. That's a strange woman ! And yet her talk is kindly. Can 
she be a friend 1 What can be in the letter 1 {opens letter and reads) " My 
own loved sister, Kathleen ! " Sister ! From Harry 1 (her joy turns to sus- 
picion) I don't recognize. the hand, (in joy again) How could 1 1 — when I 



28 FKEP O' DAY. 

have not seen it for so long 1 " Meet me, to-night, at the old quarry, if 
you wish to see your own brother Harry." Dear brother ! he has re- 
turned ! The old quarry ! a fearful place ! But then he is a fugitive, 
and such a spot is the very refuge for the hunted outlaw. What's this ? 
banknotes — and to a large amount, i reacts^ " If you cannot keep this ap- 
pointment, it will, I fear, be a long time before I can arrange for another 
when I can see you. Heaven bless you, is my prayer wherever I go." 
How to escape from here ] Ah ! if the old woman could slip through 
the plantation unperceived, so can I. Dear brother, you may blame and 
pity, but you will not be ashamed of your Kathleen ! 

t [Exit by window in flat. 

Enter, d. f., Mullins and Purcell. 

Mul. She has gone to meet — her death ! Poor crature ! Sure, mas- 
ther, av she wor to do all you want, you wudn't have the life of her ? 

Pur. I want Mary Grace — and so the deed must be done ■ 

Mul. Give me the money. 

Puk. She has it with her. 

Pur. The divil could not bait a trap betther than you. Sure, it would 
have been aisier to give me the money at once. 

Pur. No! I will not trust you, and you will not trust me. You are 
right. So she carries your payment in her own pocket. 

Mul. Are you sure of that 1 

Pur. Yes, she will not stop to count the notes till she reaches the old 
quarry. Y r ou can take a short cut ever the locks and get there before 
she comes. 

Mul. Poor thing! It's sorry I cm for he 1 ; but yon v.ai.t Mary Gace, 
and I want the hundred pound. Sue, it uiur.t be done. . they go up ) 

Scene e c?:s in. 

SCENE IL— Wood in 1st grooves. 

Enter, r., Murtoch. He goes to l., looks off, runs lack to r , end then hckovts 
off r. Enter, k., (.'apt. Howard. 

How. (r. c ) The road seems very long. Are you sine you have not 
mistaken the way, my man 1 

v Mur. No mistake, sir ! AVe have only to cross the sthrame, and it l'es 
! jist beyant. 

How. You must be wrong — for there is no stream, no such place as 
this near Mr Grace's. 

Mur. (to l.). Sure it's not half a mile ofl now. Come on. sir ! 

How. (to l.) What's that I see] A man's form -lurking in the 
thicket, i retreats to c and draws his sward) You have beti ayed me, fellow. 
Now lead on ! and if you lead me into peril I will run you first through 
the body ! 

Mur. If it comes to that, let the divil guide you! (draws a long knife 
and he and How ard fight. He closes in and gets the best of Howard As 
he bends Howard back so as to be able to stab him, a shot is fired, l., Murtoch 
releases Howard and staggers to r., where he falls and dies. 

Enter, l., Harrf Kavanaoh, cloaked;. 
Har. {goes to Murtoch and lays his hand on his heart) No more breath 



ACT III. 29 

in him. I came to your aid, stranger, just in the nick of time, though, 
faith ! it was a mighty risky shot ! 

How. I have to thank you for my life. 

Hak. Yes, it was a narrow squeak. If my aim had not been true I 
might not have hit the right man. struggling as ye were together. 

How. (suspiciously). Are you sure you have hit the right man 1 

Har. Captain, you are free to be as ungrateful as you like, but don't 
impugn my skill as a sharpshooter. 

How. I ask your pardon. May I know the name of the man to whom 
I am so deeply indebted 1 

Har. You can call me Butler. I had a fellow-feeling for you in 
your distress, as, only half an hour ago, I fell into the hands of Captain 
Peep-o'-Day and his followers. 

How. Peep-o'-Day on these hills. Why, I have him surrounded at an- 
other spot. 

Har. Depend upon it, you are mistaken He was yonder, for I know 
him. as I have met him before. 

How. What does he look like 1 

Har. He is about my own height, a fierce-looking ruffian, with beetling 
brows and a hang-dog expression. 

How. That agrees with the description that has been given me. But 
how did his men come to leave you in possession of that pistol 1 

Har. Oh, I found it on the hill after they had gone away. 

How. I am in a painful uncertainty. My duty calls upon me to hasten 
to draw off my men and set them on the fresh scent. And yet I fear to 
leave my friends unguarded, as they may be in danger. 

Har. I will find you a messenger if you wish to give them encourage- 
ment. You can write them a line. 

How. How 1 there are no writing materials here. 

Har. Nay, I have them. 

How. You ! after having been searched ? 

Har. Tush ! those savages only laush at pencil and paper. They 
draw on their bankers with quite other weapons, {laughs) We can get a 
light in yonder hut. {points off r. Goes to Murtoch) Let us see what 
story the dead man tells, (searches Murtoch) No papers — ah, notes ! 
Four notes for one pound each, a,nd coin — the change for a five pound 
note Captain, (laughs) you were going to be knocked down for five 
pounds ! 

How. (laughing). Rather say disposed of by private contract, (they 
ezuent r.) 

Scene changes to 

SCENE III. — A wood in 2d cut of 1st grows. Gas down. 
Enter, l., Father O'Cleary, with his cane. 

O'C I thought I had probed the whole extent of the iniquity in my 
parish, but t:i j revelations of the villa'ny of this Stephen Puvcell astonish 
mo. I mait butir to have that poor girl's wrongs repaired, (voice of 
Postman, l. singing " OjIi, Paddy, you Gander, You're like a Highland- 
er." O'Cleary, looking l ) What's that we have here 1 .One man very 
drunk and another very ragged ! Ah! there's something wrong going 
on here, {goes up so as not to be noticed.) 

Enter, l , Postman, drunk an ! s'aggrring, supported by Mullins to c. front. 

Mori. Hold yer head up ! Walt t.li wo got to the shebeen, and then 
you cm take a rest. 



30 PEEP o' DAY. 

Postman. I mustn't delay — ah ! you're tickling me ! (laughs drunkenly) 
Now, I will go on an' walk upright and straightforward ! {goes r., but 
would fall but for Mullins catching him) What are you doin' wid me 3 

Mul. Seeing you safe home. 

Post Is it stop his Majesty's mails you would ] I'm the post ! 

O'C. [aside). The post, with the Dublin mails. Oh! the answer to my 
memorials may be among them. 

Post. I want none of your company ! I can kape mesilf upright and 
walk straightforward, (staggers off r., followed by Mullins ) 

O'C. That's an honest post, though not an upright one. (comes to r.) 
What is he doing wid him 1 I belave he has pushed the post into the 
ditch. And now he closes with him. I'm afraid there's robbery going 
on If there's a black sheep in my flock, that's the one. What's that 1 
Now he's coming this way. I'm afraid I must interfere here morally 
and physical y. (retires up.) 

Re-enter Mullins, r., with post-bag^ to c. 

Mul. I have the bag of him. May be there is some money in it. It 
will save me from having the sin of that poor crature's death on me 
sowl. 

O'C. (comes down). What were you doing with that poor boy % 

Mul. Me ! what 1 

O'C. Don't seek to decave me ! I saw it all. What were you doing 
with the boy whin he rowled into the ditch 1 

Mul. {sullenly). Sure, he fell, and I propped him up so that he'd lay 
aisy till he had slipt the dhrink off him. 

C. Look at that now ! And perhaps you picked out a soft stone for 
his pillow 1 

Mul. Ye'd betther go and see for ) r oursilf. (going l.) Good-night ! 

O'C. Stop ! You have robbed that poor boy ! and in robbing him, 
you have robbed others. Down on your knees and confess your guilt. 

Mul. I have not robbed him, and I don't know you at all, and I don't 
want to know ye. 

O'C. I am your parish priest. Deliver up your plunder and ask par- 
don, and may be 111 put but a light penance on ye. 

Mul. (gruffly). I have no plunder — and if I had, it's not my way to 
give my arnings up to the first that axes. 

O'C. (tucks up his tvristbands). I see, moral suasion is no use with this 
man ! I'm your priest, and if you still refuse to bow to the gentle urg- 
ings of Mother Church. I'll have to inflict on you the hardest penance 
you have had in many day ! (l c.) 

Mul. I don't belave you are a praste, and if you was, I wouldn't give 
in to ye. You've put my blood up 

O'C. (fiercely) You've put my blood up! and I'll give you a sound 
thrashing ! 

Mul. Oh ! we'll see ! (rushes at O'Cleart who knocks him down ivith his 
cane. ) 

O'C. (stands over Mullins triumphantly . That's a good blow. I am 
not sorry to find I have not forgotten the accomplishments of my boy- 
hood. I told yfe, I'd bate you! Bedad, I'm afraid I've bate you badly. 
Here's the bag — [opens post-bag) and here's a letter with the Government 
stamp — may be it's the answer to my memorial. He don't move, I hope 
I've not hit him too hard, yet it takes a deal of blows to make any im- 
pression on these fellows. I have this habit of hitting hard from my 
thumping down the divil — I mean, the sins of my congregation. He's a 
long time coming to. (takes out of pocket a flask) Here's what will revive 



ACT III. 31 

you. (supports Mullins in a sitting posture and puts bottle to his lips) Open 
your mouth — you baste ! (Mullins groans and recovers consciousness) I am 
sorry I had to bate you, my boy, but all other means failed to convert 
you. 

Mul. (rises, giddy). Where — where's the bag. (l. c ) 

OC Safe in my possession. 

Mul. (hoarsely). Give it me ! or it 'ill be the worse for you ! 

C. (UfU his cane). Aisy, boy ! don't force me to strike you again. 

Mul. (aside). Av he wor not the praste, I would have his life ! I 
wanted an excuse to let off the poor girl, but now I am obliged to do it ! 
I must climb down the rocks to be in the Fuil Dhuiv before her ! 

[Exit, l. 

O'C. Though I may not have exerted my influence as a peace-maker 
to the best advantage, I have certainly triumphantly asserted the supre- 
macy of the church militant. [Exit, r. 

Scene changes to 

SCENE IV. — Interior of Cabin in 2d grooves. Gas down. 

Enter, d. f., Hariiy Kavanagh and Barney. 

Bar. Here's my house. Will it do 1 

Har. Yes. Anywhere is shelter. What's the news of Kathleen, since 
you have seen her. 

Bar. She would go to Purcell's though I stood out aginst it, and I 
hear there was great difference betune than — he aveu going so far as to 
strike her. 

Har. Strike her ! strike my poor sister in he.- present defenceless 
«cate ! Oh, may Heaven's lightnings blast the coward s hand that struck 
that blow, and let it hang withered by his side. No, no, — rather let 
him live ! let him be lustful of life, so that his fate may be the more terri- 
ble when, face to face with him, I look death into his toul ! 

Bar. {fiercely). Yes ! I've seen it in my drames — I paw you comeback 
from abroad to find him ! I saw you, all in glorious green and gold, Wid a 
drawn sword in your hand, standing over him a-dying at your feet! 
Don't spare him, master ! Cut him down ! stab to his heart ! tread on 
him — trample him into the ground ! (hrows his hat down and stamps his 
foot on it in his excitement. 

Har. But let's be calm. That letter I'm said to have written— let me 
see that. 

Bar (calls qffii.). Michael, b/ing a light to the masther! (a Boy brings 
a lighted candle in from L., proscenium e., and Harry reads a letter by it.) 

Har. A forgery ! ' exit Boy with candle, l. pros, e.) Ah ! som? base bad 
plot is afoot ! 

Bar. By the same token, 1 saw Purcell's man, Black Mullins, going 
down into the Fu.l Dhuiv! 

Har. There-may be time to save her 

Bar. Bv the short cut over the rocks 



Har. Yes, we will make time to save her ! [Exit, d. p. 

Bar. All right! I am with you toaster. [Exit, d. f. 

Scene changes to 

6CENE V. — The old quarry and view of hill-tops by moonlight The moon, l. 
u. E., gradually turns its beams, so that, first falling on the top of R. cliff. 
they finally rest on l. c, front and top of the set cliff along l. side. Stage 



O^ PEEP O' DAY. 

dark, and gas down in house as scene changes Music, mysterious, tremolo, 
irregular sostenato chords on the stringed instruments, throughout, but cd- 
most inaudible when the performers are not speaking excitedly. 

Discover Mullins in the trap, c. front, representing a grave, using a spade. 

Mul. She don't come yet, and the hole need not be deeper, [gets out 
of grave and shapes it ivith spade) I hope she won't be long. I'd rather 
have the job over than be anxious till it is done. She was to have the 
money with her. Ah ! ( ]^uuse) It is very cold and dull down here. 
(shivers and looks fearfully about him) I wish she wouldn't make me wait 
when I have all ready to send her properly out of the world. I'll go up 
on the hills and see if I can see her coming in the moonlight. It's as 
dark down here as my own drames — or the divil's pocket, (music. He 
goes up steps, r., to the top, then on the bridge, stopping now and then to look off 
L. if. E., shading his eyes from the moonlight with his hand. Pauses.) 

Kathleen enters, l. u. e., on the cliff, comes to c. on the bridge, stops, looks 

down. 

Kath. Harry ! (pause. She crosses bridge, comes to head of steps r., calls) 
Harry! (comes halfway down the steps) Harry! (comes down to stage level) 
I am here. Speak to me, Harry, (looks in fear around) Come out, Harry ! 
don't hide yourself from me, dear. I'm afraid down here, alone in the 
dark, Harry, so speak to me! (it. c. She listens, then comes to c, recoils a step 
or two in great horror and affright. In a hoarse whisper) What's that 1 A 
mound of earth, newly upturned — and — (in great terror, with a stifled 
shriek) a grave ! a grave ! fresh made, as for a coming tenant ! Where is 
Harry 1 (quick tone) Oh ! I cannot remain here ! I must go up to the 
hills, into the moonlight, (goes to steps, r.) 

He-enter Mullins, l. u. e., he keeps his face turned to l., looking offi,. 

What's that 1 a man ! It is not Harry ! Oh, I dare not meet him ! (hides 
between rocks up l. c Music. ^Mullins crosses bridge and comes down r. steps 
to stage level, speaking through the music as he comes down.) 

Mul. I don't see any signs of her at all, at all ! (c. front) Can she have 
been here and gone while I was away 1 No ! that's not possible, (looks 
at the grave) It's hardly long enough for her. (gets into grave) I'll take out 
a few spadefuls, (throws up some earth slowly) That will do now. (gets out 
of grave) I will light my pipe and have a smoke while I'm waiting, ^l. c. 
front, lights his pipe, match goes out) There's the match gone out. Ah ! 
(sees Kathleen peeping out from behind rocks)) Oh! (rushes at Kathleen, 
who eludes him and runs off n., 1 e.) I have you! Oh! she has gone', (a, 
in fright.) 

Kath. (screams) Oh ! {runs off r. 1 e 

Mul. Was that the woman, or (in fright) was it a ghost ] No, no ! 
there are no ghosts, or I should have seen one long ago ! 'It's her ! S i3 
went that way ! If I go afther her she may escape me and go away by 
the hills. There's no out-let that way. I'll go up and cut off the bridg ^, 
and so cage Ler here. 

Goes up r. steps,, mil by striking the bridge at r. end with spade, makes it fall 
down into the chasm, hanging by the l. end. While he is at work at this 
Kathleen enters, r.. timid! y, expresses her surprise and despair at ivhat 
she sees Mullins doing, and hides up L. c, as before. Mullins comes 
dotvn r. steps to c. front. ' 



ACT IV. S3 

Mul. (pretendedly, gently). Now, thin, my lady, come out. I have a 
message to you from your brother Harry ! Come out ! I say. Av ye 
kape me waiting. I shall go for you, and thin it 'nil be the worse for you, 
my lady. Now, don't vex me — or put me in a bad timper. 

Kath. {comes hesitatingly forward a). Here I am. What do you want 
with me, I don t know you. 

Mul. Your brother Harry sends this missage : you are no longer suf- 
fered to go about a living show of the disgrace you put upon the Kav- 
anaghs. 

Kath. What! would you murder me 1 ? (comes to r. c. front, Mul- 
lins going to c. a little up, behind the open trap) who has never injured 
you ! No ! my brother would never have given you thao work to do ! he 
might scorn me, thrust me from him to never look upon me again, but 
he would not murder me. I see ! you are a tool of that villain Purcell. 

Mul. (savagely). Be that as it may, your last hour is come ! Say your 
prayers ! 

Kath Oh ! I am not fit to die ! Nor can thr-t be Stephen Purcell's 
wish ! And if it were, you would not put the stain upon your hands of 
hurrying an unoffending creature out of the world ! Oh ! have mercy 
on me ! listen to your own heart ! Oh ! lay not ""he sin of murder upon 
your soul ! upon your soul ! 

Mul. (in a softened voice). Well — I don't set so much upon your death ! 
Give me the money that I know you have about you, and swear never to 
some between the masther and Mary Grace, and t will let you go your 
)wn way out of this. 

Kath. (firmly). I will not devote Mary Grace to a fate that would 
only be worse than that I endure myself. And I have no money— none 
to give to you ! 

Mul. Och ! bedad thin, you have brought it en yourself, (he tries to 
strike Kathleen with the spade, but she avoids it, and it hits a rock and falls 
from his hands. They grapple and struggle about *he front of stage, very 
fiercely, Kathleen screaming all the time) " Help, help! ' \the Moonlight 
now falls upon the front of stage to c, All on left side. Music, forte.) 

Enter, l. u. e., Harry and Bahney. Harry runs -•long the cliff top to l. 
1 E., where he seizes the top branches of the tree there, and bearing his 
weight on it, it lets him down to the stage. He pich t up the spade, parts 
Mullins and Kathleen, knocks Mullins down with the spade, and 
takes Kathleen in his arms. S/ie sinks exhausted in*o them. Barney 
dances in wild delight. 

QUICK CURTAIN. 



ACT IV. 



SCENE I. — Wood in 1st grooves. Stage dimly lighted. M"^t\ ' Bold Soger 

Boy. ,: 

Enter, r., Purcell Captain Howard and File of Soldier -1 . 

Pur. The ruffians who have contrived to carry off Miss Grace and her 
father, are no doubt in the retreat I have described to you. You cannot 
fail to capture them. 

How. Yes. After my disappointments, I am not very sanguine, but I 



8 t PEEP O* DAT. 

bel'eve now I shall secure the leader of the party, who answers to the 
description I have had of the Rebel Chief, (c.) 

Pur. \l. a). To such savages civilized warfare is a folly. Charge 
them when you see them and give them no quarter. 

How. My men will do their duty Will you not accompany us ] 
Pur. I have some business which cannot be delayed I should other- 
wise be only too happy to act as your guide, or in any other way to aid 
you in the repression of the rebellion, {going l.) 

Enter Barney, l. 

Bar. Don't, Captain, don't let him go ! I've come to let you know 
what his charackter is. Sure it's him that hired the Peep-o : -Day Boys 
to carry off Mr Grace — you can go and ask him — and if you'll let me 
show you where to look, you'll find him, and his daughter. I'll go wid 
you, but take him along. 

Pcjr. I am a man of respectability and position, and that ought utterly 
refute the unsupported assertions of a low fellow like this, who is more 
than likely one of the Peep-o'-Day Boys himself 

Bar. Oh ! you're the divil's own boy to tell a lie, Mr. Purcell. But 
wait till you're face to face wid thim you had carried off. 

Pur. You want to get me out of the way, so that a party of your 
friends can plunder my house in mv absence. 

Bar. Sure we wudn't take the bread out of your mouth ! Ah ! Cap- 
tain, to hear him talking so grand you wudn't think he was the one to be 
thinking of marrying agen before he had buried his first wife ! by the 
same token, it's at this same Miss Grace that he's casting the mneiher. 

How. Ah ! Well, according to your own confessions, friends that are 
dear to me are in danger. You shall both go with me. 

Bar. ( delighted). Ha, 1 a ! 

Pur. I protest against this gross violation of the rights of a loyal 
subject 

How. The district is under martial law, and my duty is to compel 
every citizen to aid me to his utmost against the insurgents. Attention, 
company ! Fall in ! (t/ie Soldiers open ranks to let in Purcell and 
Barney.) 

Bar. {laughs). Ha, ha ! (Purcell stamps his foot in vexation. All 
exeunt, l.) 

Scene changes to 

SCENE II. — Wood in Zd or 4th grooves. At rising of curtain, the moon is 
going down, there is then twilight, and then sunrise. 

Discover Grace, Mary -and Peep-o'-Day Boys guaramg ..^em r. c. and up 
r. Starlight, Moonshine and other Peep-o'-Day Boys are ready 
to enter r. u. e. and all the entrances, l. 

Grace. Well, we have not much betthered our condition. We have 
only fallen into the hands of one enemy after having been rescued from 
another. 

Mary. Not so, father. Harry Kavanagh is no enemy- -though he has 
good cause to be so after the cruel wrong I have done him. 

Grace. Then why don't he set us free 1 We are nothing but prisoners 
he e. 

Ma'-y I don't know, iimess ne means to punish me, perhaps, for the 
p:::n I have caused him. 



ACT IV. 



35 



Enter, l. u e., Harry Kavanagh, cloaked. 

Har. The soldiers, boys. Fall in ! (the Peep-o'-Day Boys, already 
on the stage, bring Grace and Mary up to the platform along u. E., theg 
being on the right of Harry, at c, who has Peep-o'-Day. Boys on his left 
hand. Music, " Bold Soger Boy," began pianissimo and gradually loader as 
the Soldiers approach.) 

Enter C apt aix Howard, Barney, Purcell and Soldier : , l. 1 e. Theg 
form a line along l side. 

Pur. Look ! there they are ! no parley with rebels. Fire ! (some of 
the Soldiers level their muskets ) 

How. Hold! order arms! (the Soldiers recover arms) Don't you see 
our friends are so placed as to receive the first fire. 

Har. Right, Captain ! I thought you would be as sensible. Surely 
you would not fire either upon your friends' friend. Don't you remem- 
ber my service of last night 1 

How. You here ] I command you to surrender. I can have do argu- 
ment with men in arms. Submit or I fire ! 

Ha it. Not so fast, Captain. I am not easily to be forced to abandon 
my present advantageous position. 

Pur. (to Howard). You don't know who he is! That's a forme.' 
lover of Mary Grace and he would rob you of her love ! 

How. Is that so 1 This unseemly parley with rebels must end. Soldiers, 
do not fire but trust to steel ! Prepare to charge 

Har. One moment, Captain. You have been informed that the leader 
of the Peep-o'-Days is a ruffianly fellow with a beetling brow and a hang- 
up * expression. Is not that so 1 

How. You told me so, yourself. 

Har. Then I deceived you. He is of my height, no more, no less, and 
a ; for his appearance, he is as like me as I am to myself ! 

Mow. Then you are my prisoner ! (draws his sword.) 

Har. Not yet ! (loudly) Peep-o'-Day ! (throws off his cloak and discovers 
himself in green, gold and white uniform.) 

Enter from all sides, mostly from l. e , Peep-o'-Day Boys, who seize and 
disarm the Soldiers. Barney takes the sword from Howard. 

Peep-o'-Day Boys. Hooroo ! Peep-o'-Day ! Hooroo ! 

Harry comes doum to c. line of Id entrance. They bring Grace and Mary 
down to r. c. line of 1st entrance. 



*o' 

*Day 

* 

*Boys. 

Grace.* 



*Peep. 



*Mary. 



*S 
*o 



*Peep 
* 
* 



*Howard. *s. 



*n' 



*Day 

* 

♦Barney. 



*Boys. 



Enter, b. u. e.. Father O'Cleary. He pushes Peasants aside sotliat he 
can come down to r. c. front. 



36 PEEP O' DAY. 

O'C. {good hamoredly). Get out of the way, or I'll knock you all 
down ! 

Bar. Sure we all know what a brave boy for fighting .you are, your 
riverince ! 

C. (to Howard). So you have fallen into the snare. 

How. An English soldier does not know when he is beaten. 

O'C. An Englishman can be beaten just the same as another man. 
Pooh, pooh ! 

Pur. Ah's lost! I'll be off. (to l. 1 e.) 

Bar. (at l. 1 e.). Oh, no, not now ! There's a dance of yours to come 
off yet wid your feet on nothing. 

Pur. Mercy, Harry ! 

Har. Mercy ! What mercy did you show to my sick mother, my elp- 
less grandfather, whom you turned out of their home to die of hunger by 
the roadside, or in a hovel 1 What mercy did you show my sister, when 
she came to you for justice and you handed her to a murderer? What 
mercy did you show to me when the truth from you would have saved 
me years of misery 1 Expect no mercy from me, Stephen Purcell ! 
your hour is come ! 

Pur. What would you do 1 

Har. Be patient, Purcell. I have been long patient with you ! (:o 
Howard) You see, Captain Howard, there is many a slip. The cards 
have changed. I hold the trumps now. What do you play % 

How. I do not complain. I have been fairly conquered ; but do not 
abuse your victory. 

Har. Mary Grace, a word with you. (Mary comes towards Harry) 
Must I remind you of your pledge to me ,n the past ' How have » o i 
kept your promise 1 Ah! your silence under the rep^o^ch, alas ! is but 
too eloquent. In my sad hours of absence when you were ever present 
to my thoughts, you forgot me ! 

Mary. I was a child when I first felt that fond love wis ch made me 
see all things by its light. Then I knew you had my heart. But it 
seems to have changed with lapse of time, and I hardly know it now. 
Oh ! had you only come to me sooner, I would have been spared all this 
reproach ! 

Har. I do not reproach 3 r ou. I only ask : do you not -love me any 
longer 1 * 

Mary. I loved you then. 

Har. I see. You love another. 

'Mary (faintly . I cannot speak. 
| Har. I see — I see too much for my happiness. No, you never loved 
me, Mary, for love is not a transient flame that can be beaten out by 
time. I restore you your pledge as I did before when it was siven. Be 
happy where you may. This hour of my seeing you is the last. 

Mary. Oh, Harry ! 

Grace. A young girl cannot resist the language of passion from the 
lips of a man for whom she has once had an affection. It is unfair of you 
to press her for reply. 

Har. No, let her own heart speak. Mary Grace, while I was gone did 
your heart have rest, or was my image ever by your side 1 

Mary Not always, yet I often thought 

Har. Enough. Absence has robbed me of your love, (to Purcell) 
Accursed fiend ! This, too, is your work \ Gloat on it ! make merry in 
your triumph ! it will not be for long, and it is your last ! By Heaven 
I wonder I have not slain you where you stand ere this ! 

Pur. Harry, I have wronged you. ' But I am rich — I will restore— I 
will make compensation 



ACT IV. 37 

Har. Restore ! Can you restore my parents and my home 1 my sis- 
ter's broken heart 1 

Pur. Bsjust! 

Har. I shall be only just to you, yet heavy will be your fate. Let no 
hope of softening me delude your last moments. Your life is forfeited by 
all the claims of man's vengeance ! 

Cleary. By man's, but not by Heaven's Harry, forbear ! If you 
take that man's life, not all the power of man eould acquit you of the 
crime of niurder ! 

i Hah. Murder'? Murder, to punish the villain who plotted a woman's 
death ? But all the earth that he has walked upon cries out against him. 
He has had a trial, and has been condemned. 

Peas. He has 

Har. Away with him. Let him receive his fate. At most, I will not 
be his executioner. 

O'U. By your soul s sake ! 

Mary. By our old love ! 

How. Remember you cannot evade the crown forces forever ! Let 
him answer to the law of the land. 

Har. Law ! What law can restore to me all that he has deprived me 
of '? And, shall he be let go to lengthen out his hateful life ? And, yet — 
ihe coward trembles ! perhaps his life would be his punishment. There ! 
let him go! 

Peas (murmur). No.no! 

Hak. Who dares to murmur when I command'? Who here has greater 
wronus than mine 1 If I can forego my vengeance, who has the right to 
dispute my will 1 Release him. 

Mary. Oh, that is noble of you, Harry ! 

Pur. (as if fearful). These men here owe me a grudge. They may 
follow and kill me. Give me a weapon so that I may not be shot down. 

Har. Iseornfutty). Give the coward a weapon, and let him go (Purcell 
is going to take Bars ey's pisfo', when Barnry makes a feint to shoot him. 
He gets a pistol from a Peasant and goes up c. and stands on the platform. 
On turning, he draivs himself up to his full height and looks full of defiance and 
triumph. He levels the pistol at Harry l c. front.) 

Pur. {exultantly). He is a rebel in arms against his Majesty ! It is the 

duty of all good citizens to kill (Barney fires a pistol at Purce t .l, who 

throws up his arms, yells, and falls hack off the platfrrm, and disappears.) 

Bar. I knew it ! I knew it ! It was so in my drames ! I was sure he 
would only die by my hands. Now, my mind's at aise ! {the Peasants, 
l., congratulate Barney on his excellent sJwt.) 

Har. Captain Howard, I and my poor followers surrender ourselves 
into your hands. I only ask that you will exert your influence favorably 
for them. 

How. Freely, willinsdy. (his sword is given to him and he sheathes it The 
Soldiers receive their muskets. ) 

Har. Mary Grace, all the love-plight that was between us is now gone. 
I will try to forget my love in the home in the wilds of the New World, 
where I hope to find a dwelling-place far from the love-lit scenes of my 
happy boyhood. 

Mary. No, Harry ! Your noble conduct of this hour to that man who 
had so deeply injured you, reveals to me the real worth of your natu 1 e. 
I only fear that I never can deserve you — but if you will forget my re- 
cpnt indecision, and believe that all my former love has returned in 
greater force than before, take me to your heart. I will not consult 
father or friends. I will abandon home, kith and k'n — all, to follow you 
throughout the world ! (.Harry takes her in his arms. A'.l the Peasants 
Hnorco ! > 



38 PFEP o' DAY. 

O'C. (to Howard). Captain, you'll have to go back to Engla.nd without 
an Irish conquest for wife. 

How. (to Harry). I congratulate you, sir, on the admirable lady you 
have won Little as I have known her, her many gifts have endeared her to 
me. What mast she then be to you who have known and loved her so 
long, (shakes Harry's hand.) 

Grace Well, Harry, I had other ideas for my daughter, but I never 
could deny her anything, and if you get through your troubles, you can 
even have your own happiness with her. 

O'C. He is through his troubles already, for thanks to my memorial, 
all the insurgents in this district who lay down their arms, are entitled 
to free pardon and leave to go their homes. 

All. Hooroo ! Thank yer riverince kindly. (All form at back.} 

****** *Peep-o'-Day Boys. 
***** *Soldiers. 

*Peep-o'-L\ay Boys. 

* 

*Hcward. *Grace. *Barney. *0'Cleary. *Hariiy. *Mary. 

(Sun rises slowly. Music, pathetic.) 

Har. (with one arm around Mary's waist) The brightness has suc- 
ceeded the long black hours So in the morning of life, all our dreams 
of love and happiness are dimmed by the haze of illusions, and only 
when our future is made sure and the love of woman firmly secured, 
conies the glorious sunburst after the Peep-o'-Day ! (Sun on the horizon. 
Music. ) 

CURTAIN. 



STAGE DIRECTIONS. 

R. means Right of Stage, facing the Audience ; L. Left ; C. Centre ; R. C, Right 
of Centre ; L. C. Left of Centre. D. F. Door in the Flat, or Scene running across 
the back of the Stage ; C. D. F. Centre Door in the Flat ; It. D. F. Right Door in 
the Flat ; L. C. F. Left Door in the Flat ; R. D. Right Door ; L. D. Left Door ; 1 E. 

*st Entrance ; 2 E. Second Entrance ; U. E. Upper Entrance ; 1, 2 or 3 Gr. First 
cSweonl or Third Groove. 

It. R. C. C. L. C. L. 

&y The reader is supposed to be upon the stage lacing the audience 



SYNOPSIS. 

All the events of the First Act transpire on one scene— an Irish landscape, with 
cottage in front. Kathleen Kavanagh is seated on a rock, when Barney 
O'Toole enters, and running softly behind Kathleen slyly covers her eyes with 
his hands. Kathleen shakes them off, and appears no ways pleased at seeing 
whose they are. In the conversation that ensues, Barney pleads his suit for her 
hand ; but it is made evident that the girl's love is bestowed on one Stephen Pur- 
cell. Barney, when satisfied that he has no chance to win her, solemnly warns 



PEEP lV DAY. 39 

her against having anything to do " wid the bad-blooded Pltrcells " Then Kath- 
leen, left alone, avows to herself her love for Stephen who has urged her to a 
secret marriage. As the girl retires, Stephen enters, unobserved, and hides a 
packet of papers in a decayed tree, observing, " that he'll put the Kavanaghs in his 
debt, and thus win the girl, even if he has to get rid of the brother, Harry." At 
this juncture Kathleen enters from cottage, and Stephen greets her, and tells 
her that his father is inexorable and will have the money due him by the Kava- 
naghs at the set time ; but that he (Stephen) has obtained the money at great 
risk to himself, and begs her to persuade her folks to accept it as a loan, in case 
Harry Kavanagh fails to obtain it elsewhere. He attempts to kiss her, but she 
runs off, shy as a wood pigeon. Just then he sees Farmer Grace and his pretty 
daughter, Mary, coming, and he retires. Kate assists her old mother in ; she 
lamenting their want of friends, when Grace and his daughter enter, and warmly 
express their friendship, and wish to aid the Kavanaghs. Grace, after saying he 
intended to send his daughter Mary to a convent for three years, leaves her with 
Mrs. Kavanagh, while he goes down the road. While he is away Mary sings a 
plaintive melody. Barney, who has entered meanwhile, falls asleep. Harry 
Kavanagh comes in, and tells them that he has the needed money, and gives the 
purse to his mother. All leave the stage, except Harry and Mary, after some 
comic lines between Kathleen and Barney ; then the young couple plight their 
troth for aye. Grace, Kathleen, and Barney now enter, and after some conver- 
sation, in which Harry learns that martial law is proclaimed, they all go off. 
Purcell plans to have Harry go to meet Mary Grace ; previously handing him 
some treasonable papers to destroy. Harry falls into tne snare, and is arrested 
with the dangerous papers in his pocket. His explanations avail not, as he will noi 
inform against Purcell. and he is marched off to prison. 

Act II. is a wood. Captain Howard and Lieut. Graham enter, and the latter 
jests with his superior about being smitten by the charms of Mary Grace. Fath- 
er O'Cleary joins them, and also has his jest about tne Captain's conquest. 
Howard goes off with the intent to meet Grace, and Barney comes in. He tells 
the priest that Harry Kavanagh had been transported, that Kathleen had beeii 
married to Stephen Purcell, who, villain as he was, disavowed the legality of the 
union. All go off except Barney, when Kathleen comes in, pale, tired, wretched. 
An affecting interview follows, in which Kathleen tells how she has been kept at 
a distance by Purcell, who disowns her ; but she expresses her firm resolve to 
face him, and force him to recognize her : she can face misery, but not disgrace. 
Then Kathleen proceeds alone toward the statety mansion of the Pcrcells. 
Barney goes in a different direction, just as Mary Grace and Howard ente: 
The officer tells her he loves her, and begs her to become his wife. While they arc 
conversing, Harry Kavanagh comes on unseen, and they continue to talk, Mary 
briefly telling the Captain of her girlish love for a young man who was convicted 
eeven years before. At intervals the melancholy plaints of a harp thrill the air, 
and the notes recall the past vividly to Mary's heart, and she retires — to weep ! 

In the next Scene we see the ruins of a holy well, and the peasantry are met at a 
fair. Here Stephen Purcell tries to get Barney to join in an attempt to abduct 
Mary Grace, so that he (Stephen) can figure as her liberator. Many other char- 
acters appear, and a very animated representation of an old-fashioned country fair 



40 PEi:r u ! D.\r. 

is given. A few fights ensue, only cheeked by the appearance of Father 
O'Cleary. 

The Third Act begins with Purcell and Mullins entering a room in the for- 
mer's house. They are planning how to get the English Captain into their power, 
when Kathleen enters. Mullins withdraws, and Kathleen demands that Pur- 
cell shall publicly avow their marriage. Purcell goes out, locking her in. Mol- 
shee crawls in through the window, and gives Kathleen a letter, and steals out 
again. It purports to come from Harry, and begs her to come to " the old quarry." 
She bravely resolves to go, and escapes through the window. It was a plan of Pur- 
cell's— Mullins was to murder her for a hundred pounds. In the Second Act, 
Harry Kavanagh saves Captain Howard's life by shooting Murdoch. The 
Third Act witnesses the robbery of the post-boy by Mullins, and the capture of 
the mail-bag by Father O'Cleary, after knocking Mullins down. In the fol- 
lowing two scenes of this Act Harry Kavanagh and Barney hold council, and 
then go and save Kathleen from the clutches of Mullins. 

In Act Four Purcell leads Howard and Soldiers into a dim wood, and then i 
going to leave them ; but Barney, who has come on, advises that Purcell b 
made to go with them. In the last scene the sunshine gleams out, showing tbA 
Peep o' Day Boys guarding Grace and Mary. Howard, Purcell, and Barney, 
with Soldiers, advance, only to find themselves m an ambush. The piece ends 
with Harry's innocence being made apparent, Purcell's death, and tne reunion 
of Harry and Mary. 



DE WITT'S ACTING PLAYS (Continued). 



No. M. F. 

144. Lancashire Lass, melodrama, 5 acts.12 3 

34. Larkins' Love Letters, farce, 1 act.. 3 2 

137. L'Article 47, drama, 3 acts 11 5 

111. Liar (The), comedy, 2 acts 7 2 

1 19. Life Chase, drama, 5 acts 14 5 

165. Living Statue (The), farce, 1 act 3 2 

48. Little Annie's Birthday, farce, 1 act. 2 4 

32. Little Rebel, farce, 1 act 4 3 

164. Little Ruby, drama, 3 acts 6 6 

109. Locked In, comedietta, 1 act 2 2 

85. Locked In with a Lady, sketch, 1 act. 1 1 

87. Locked Out, comic scene 1 2 

143. Lodgers and Dodgers, farce, 1 act.. 4 2 

189. Leap Year, musical duality, 1 act. . . 1 1 

163. Marcoretti , drama, 3 acts 10 3 

154. Maria and Magdalena, play, 4 acts . 8 6 
63. Marriage at Any Price, farce, 1 act . 5 3 
39. Master Jones' Birthday, farce, 1 act. 4 2 

7. Maud's Peril, drama, 4 acts .5 3 

49. Midnight Watch, drama, 1 act 8 2 

15. Milky White, drama, 2 acts 4 2 

46. Miriam's Crime, drama, 3 acts 5 2 

£1. Model of a Wife, farce, 1 act 3 2 

184-- Money, comedy, 5 acts 17 3 

108. Mr. Scroggins, farce, i acfc 3 3 

188. Mr. x., farce, 1 act 3 3 

169. My Uncle's Suit, farce, 1 act 4 1 

130. My Wife's Diary, farce, 1 act 3 1 

92. My Wife's Out, farce, 1 act 2 2 

193. My Walking Photograph, musical 

duality, 1 act 1 1 

140. Never Reckon Your Chickens, etc., 

farce, 1 act 3 4 

115. New Men and Old Acres, comedy, 3 8 5 

2. Nobody's Child, drama, 3 acts 8 3 

57. Noemie, drama, 2 acts 4 4 

104. No Name, drama, 5 acts 7 5 

112. Not a Bit Jealous, farce, 1 act 3 3 

185. Not So Bad as We Seem, play, 5 acts. 14 3 

84. Not Guilty, drama, 4 acts 10 6 

117. Not Such a Fool as He Looks, drama, 

3 acts 5 4 

171. Nothing Like Paste, farce, 1 act 3 1 

14. No Thoroughfare, drama, 5 acts and 

prologue 13 6 

173. Off the Stage, comedietta, 1 act 3 3 

176. On Bread and Water, farce, 1 act. . . 1 2 

90. Only a Halfpenny, farce, 1 act 2 2 

170. Only Somebody, farce, 1 act 4 2 

33. One too Many for Him, farce, 1 act. 2 3 

3. £100,000, comedy, 3 acts 8 4 

97. Orange Blossoms, comedietta, 1 act. 3 3 
66. Orange Girl, drama, in prologue 

and 3 acts 18 4 

172, Ours, comedy, 3 acts 6 3 

94. Our Clerks, farce, 1 act 7 5 

45. Our Domestics, comedy farce, 2 acts 6 6 

155. Our Heroes, military play, 5 acts. . .24 5 
178. Out at Sea, drama in prologue and 

4acts 16 5 

147. Overland Route, comedy, 3 acts 11 5 

156. Peace at Any Price, farce, 1 act 1 1 

82. Peep o' Day, drama, 4 acts 12 4 

127. Peggy Green, farce, 1 act 3 10 

23. Petticoat Parliament, extravaganza, 

in one act... 15 24 

62. Photographic Fix, farce, 1 act 3 2 

A COMPLETE 



No. M. !■. 

61. Plot and Passion, drama, 3 acts.... 7 2 
138. Poll and Partner Joe, burlesque, 1 

act 10 3 

110. Poppleton's Predicaments, farce, 13 6 

50. Porter's Knot, drama, 2 acts 8 2 

59. Post Boy, drama, 2 acts 5 3 

95. Pretty Horse-Breaker, farce, lact.. 3 10 

181 and 182. Queen Mary, drama, 4 acts.38 8 

157. Quite at Home, comedietta, 1 act. . . 5 2 
196. Queerest Courtship (The), comic op 

eretta, 1 act 1 1 

132. Race for a Dinner, farce, 1 act 10 

183. Richelieu, play, 5 acts 16 2 

38. Rightful Heir, drama, 5 acts 10 2 

77. Roll of the Drum, drama, 3 acts 8 4 

13. Ruy Bias, drama, 4 acts 12 4 

194. Rum, drama, 3 acts 7 4 

195. Rosemi Shell, travesty, 1 act, 4 

scenes 6 3 

158. School, comedy, 4 acts 6 6 

79. Sheep in Wolf's Clothing, drama, 17 5 

37. Silent Protector, farce, 1 act 3 2 

35. Silent Woman, farce, 1 act 2 1 

43. Sisterly Service, comedietta, 1 act.. 7 2 
6. Six Months Ago, comedietta, 1 act. 2 1 

16. Snapping Turtles, duologue, I act. . 1 1 

26. Society, comedy, 3 acts 16 5 

78. Special Performances, farce, 1 act.. 7 3 
31. Taming a Tiger, farce, 1 act 3 

150. Tell-Tale Heart, comedietta, 1 act. . 1 2 

120. Tempest in a Teapot, comedy, 1 act. 2 1 
146. There's no Smoke Without Fire, 

comedietta, 1 act 1 2 

83. Thrice Married, personation piece, 

lact 6 1 

42. Time and the Hour, drama, 3 acts . . 7 3 

27. Time and Tide, drama, 8 acts and 

prologue ._, . ■ 7 5 

133. Timothy to the Rescue, farce, 1 act. 4 2 
153. 'Tis Better to Live than to Die, 

farce, 1 act 2 1 

134. Tompkins the Troubadour, farce, 13 2 
29. Turning the Tables, farce, 1 act 5 3 

168. Tweedie's Rights, comedy, 2 acts.. 4 2 

126. Twice Killed, farce, 1 act 6 3 

56. Two Gay Deceivers, farce, 1 act 3 

123. Two Polts, farce, 1 act 4 4 

198. Twin Sisters (The), comic operetta, 

1 act 3 1 

162. Uncle's Will, comedietta, 1 act 2 1 

106. Up for the Cattle Show, farce, 1 act. 6 2 

81. Vandyke Brown, farce, 1 act 3 3 

124. Volunteer Review, farce, 1 act 6 6 

91. Walpole, comedy, 3 acts 7 2 

118. Wanted, a Young Lady, farce, 1 act. 3 

44. War to the Knife, comedy, 3 acts. . . 5 4 
105. Which ofthe Two? comedietta, lact 2 10 

98. Who is Who? farce, 1 act 3 2 

12. Widow Hunt, comedy, 3 acts 4 4 

5. William Tell with a Vengeance, 

burlesque 8 2 

136. Woman in Red, drama, 3 acts and 

prologue 6 

161. Woman's Vows and Mason's Oaths, 

4 acts 10 

Woodcock's Little Game, farce, 2 4 



11 




4 
4 
54. Young Collegian (Cantab.), farce, 13 3 

DESCRIPTIVE CATALOGUE 



of DE WITT'S ACTING PLAYS AND DE WITT'S 
ETHIOPIAN AND COMIC DRAMAS, containing Plot, Costume, Scenery, 
Time of Representation and every other information, mailed free and post paid. 



DE WITT'S 

ACTING PLAYS, 



PRICE 15 CENTS. 



No. M. F. 

201. School for Scandal, comedy, 5 

acts . . 15 4 

202. Eileen Oge, drama, 4 acts 11 3 

203. She Stoops to Conquer, comedy, 5 

acts 14 4 

204. Drawing Room Car, Petite Com- 

edy, 1 act 2 1 

205. Circumstances Alter Cases, comic 

operetta 1 1 

206. Hair Apparent (The), farce, 1 act, 5 1 

207. Sold Again, comic operetta, 1 act 3 1 

208. Married Bachelors, comedietta, 1 

act 3 2 

20P. Othello, tragedy, 5 acts 16 2 

210. Mabel's Manceuvre, Parlor Inter- 

lude 1 3 

211. Honesty is the Best Policy, 1 act, 2 

212. London Assurance, comedy, 5 

acts 9 3 

213. The Widow,' comedy, 3 acts. .'...'. 7 6 

214. Turn Him Out, farce, 1 act 3 2 

215. Still Waters Run Deep, comedy, 

3 acts 8 2 

216. My Meighbor's'wife,' farce, 1 act', 3 3 

217. Poor Pillicoddy, farce, 1 act 2 3 

218. Naval Engagements, farce, 1 act.. 4 2 

219. Chimney Corner (The), domestic 

drama, 2 acts 5 2 

220. The Two Buzzards, farce, 1 act. . 3 2 

221. Slasher and Crasher, farce, 1 act, 5 2 

222. Cool as a Cucumber, farce, 1 act, 3 2 

223. Betsy Baker, farce, 1 act 2 2 

224. His Last Legs, farce, 2 acts 5 3 

225. Ici on Parle Francaise, farce, 1 act 3 

226. Box and Cox, farce, 1 act 2 1 

227. The Omnibus, farce, 1 act 5 2 

228. The Loan of a Lover, vaudeville, 

lact 4 1 



M. F. 
3 

2 



No. 

229. Sarah's Young Man, farce, 1 act, 3 

230. Family Jars, musical farce, 2 acts 5 

231. All that Glitters is not Gold, 

comic drama, 2 acts 6 

232. Tale of a Shark, musical comic 

monologue 

233. A Kiss in the Dark, farce, 1 act. . 2 

234. A Morning Call, comedietta, 1 act 1 

235. To Oblige Benson, comedietta, 1 

act 3 

236. My Turn Next, farce, 1 act 4 

237. A Regular Fix, farce, 1 act 6 

238. Trying It On, farce, 1 act 3 

239. Limerick Boy, farce, 1 act 5 

240. Drunkard's Doom, drama, 2 acts,15 

241 . Handy Andy, drama, 2 acts 10 

242. Dumb Belle, farce, 1 act 4 

243. Irish Lion, farce, 1 act 8 

244. Irish Tutor, farce, 1 act 5 

245. Thumping Legacy, farce, 1 act... 7 

246. High Life Below Stairs, farce, 1 

act 9 

247. Rough Diamond, farce, 1 act 6 

248. Cricket on the Hearth, fairy tale 

of home, 3 acts 

249. Marriage, a Lottery, comedy, 2 

acts 3 

250. More Blunders than One, farce, 1 

act 4 

251. Ticket of Leave Man, drama, 4 

acts 9 

252. Idiot Witness, melo-drama, 3 acts 7 

253. Lend Me Five Shillings, farce, 1 

act b 

254. One Too Many, farce, 1 act.. . . . 4 

255. Quiet Family, farce, 1 act 4 

256. Sweethearts, a dramatic contrast, 

2 acts 



8 7 



2 2 



—RECENT ISSUES.- 



No. 
257. 

258. 

259. 

260. 

261. 
262. 

263. 
264. 
265. 
266. 

267. 
268. 
269. 
270. 



M. F. 



Ten Nights in a Barroom, drama, 
5 acts 11 

Aunt Dinah's Pledge, drama, 2 
acts 6 

Fruits of the Wine Cup, drama, 

3 acts 5 

Drunkard's Warning, drama, 3 

acts 6 

Bottle (The), drama, 2 acts 11 

Fifteen Years of a Drunkard's 

Life, melodrama, 3 acts 10 

Drunkard (The), drama, 5 acts.. 13 
Scrap of Paper, drama, 3 acts ... 6 
Two Bormycastles, farce, 1 act. 3 
Who Killed Cock Robin, farce, 2 

acts 2 

My Wife's Bonnet, farce, 1 act.. 3 

Obstinate Family, farce, 1 act 3 

Object of Interest, farce, 1 act.. 4 
Irish Tiger (The), farce, 1 act... 5 



No. M. F. 

271. Irish Post, comic drama, 2 acts.. 9 3 

272. Toodles, drama, 2 acts 10 2 

273. Irishman in Londpn (The), farce, 

2 acts... .< 6 3 

274. Irish Widow (The), farce, 2 acts 7 1 

275. Day After the Wedding (The), 

farce, 1 act 4 2 

276. Good for Nothing, drama, 1 act- 5 1 

277. Grimshaw, Bagshaw, and Brad- 

shaw. farce, 1 act 4 2 

278. Irish Attorney, farce, 2 acts 9 2 

279. Black-Eyed Susan, nautical drama 

2 acts 14 2 

280. Pretty Piece of Business, comedy, 

1 act 2 3 

281. Wanted 1000 Milliners, farce, 1 

act 3 7 

282. Irish Broom Maker, farce, 1 act. 9 3 

283. E. C. B. Susan Jane, musical 

burlesque 



DE WITT'S ACTING PLAYS. 



Please notice that nearly all the Comedies, Farces and Comediettas in the following' 
list o/De Witt's Acting Plats" are very suitable for representation in email Amateur Thea- 
tres and on Parlor Stages, as they need but little extrinsic aid from complicated scenery or 
expensive costumes. They have attained their deserved popularity by their droll situations 
excellent plots, great humor and brilliant dialogues, no less than by the fact that they are the 
most perfect in every respect of any edition of plays ever published either in the United States 
or Europe, whether as regards purity of the text, accuracy and fulness of stage directions and 
scenery, or elegance of typography and clearness of printing. 

*** In ordering please copy the figures at the commencement of each piece, which indicate 
the number of the piece in " De Witt's List op Acting Plats." 

Jgf Any of the following Plays sent, postage free, on receipt of price — 15 

cents each. 



The figure following the name of the Play denotes the number of 
Acts. The figures in the columns indicate the number of characters — M. male; 
F. female. 



No. 

75. 
114. 
167. 

93. 

40. 

88. 
192. 
166. 

41. 
141. 

67. 

36. 
160. 

70. 
179. 

25. 

24. 
1. 

69. 
175. 

55. 

80V 
65. 
68. 
76. 
149. 
121. 
107. 
152. 
52. 
48. 

13. 
99. 

90. 

4. 
22. 
96. 
16. 
53. 
25. 

L 
■tt. 



M. F. 



Adrienne, drama, 3 acts 7 

Anything for a Change, comedy, 1 3 

Apple Blossoms, comedy, 3 acts 7 

Area Belle (The), farce, 1 act 3 

Atchi, comedietta, 1 act 3 

Aunt Charlotte's Maid, farce, 1 act. . 3 
Game of Cards (A), comedietta, 1 3 
Bardell vs. Pickwick, sketch, 1 act. 6 

Beautiful Forever, farce, 1 act 2 

Bells (The), drama, 3 acts 9 

Birthplace of Podgers, farce, 1 act. . 7 

Black Sheep, drama, 3 acts 7 

Blow for Blow, drama, 4 acts 11 

Bonnie Fish Wife, farce, 1 act 3 

Breach of Promise,, drama, 2 acts. . 5 
Broken-Hearted Club, comedietta, 1 4 

Cabman, No. 93, farce, 1 act 2 

Caste, comedy, 3 acts 5 

Caught by the Cuff, farce, 1 act 4 

Cast upon the World, drama, 5 acts. 10 
Catharine Howard, historical play, 

3acts v 12 

Charming pair, farce, 1 act. f. 4 

Checkmate, comedy, 2 acts 6 

Chevalier de St. George, drama, 3 9 
Chops of the Channel, farce, 1 act. 3 

Clouds, comedy, 4 acts 8 

Comical Countess, farce, 1 act -3 

Cupboard Love, farce, 1 act 2 

Cupid's Eye-Glass, comedy, 1 act... 1 

Cup of Tea, comedietta, 1 act 3 

Cut off with a Shilling, comedietta, 

1 act 2 

Cyrill's Success, comedy, 5 acts 10 

Captain of the Watch (The), come- 
dietta, 1 act 4 

Daddy Gray, drama, 3 acts 8 

Dandelion's Dodges, farce, 1 act. . . . 4 

David Garrick, comedy, 3 acts 8 

Dearest Mamma, comedietta, 1 act, 4 

Dearer than Life, drama, 3 acts 6 

Deborah (Leah) drama, 3 acts 7 

Deerfoot, farce, 1 act 5 

Doing for the Best, drama, 2 acts . . 5 
Dollars and Cents, comedy, 3 acta.. 9 



No. 



3 


21. 


3 


186. 


3 


47. 


2 


13). 


2 


200. 


3 


103. 


1 


9. 


2 




3 


128. 


3 


101. 


3 


99. 


5 


145. 


6 


102. 


1 


88. 


2 


74. 


8 


53. 


2 


73. 


3 


30. 


1 




5 


131. 




28. 


5 


151. 


3 


8. 


5 


180. 


3 


19. 


2 


60. 


7 


187. 


1 


174. 


1 


64. 


1 


190. 


1 


191. 




197. 


1 


18. 


4 






116. 


2 




4 


129. 


2 


159. 


3 


122. 


3 


177. 


5 


100. 


6 


139. 


1 


17. 


3 


86. 


4 


72. 



Dreams, drama, 5 acts 6 

Duchess de la Valliere, play, 5 acts . . 6 

Easy Shaving, farce, 1 act 5 

Everybody's Friend, comedy, 3 acts. 6 

Estranged, an operetta, 1 act 2 

Faust and Marguerite, drama, 3 acts, 9 
Fearful Tragedy in the Seven Dials, 

interlude, 1 act 4 

Female Detective, drama, 3 acts.. ..11 

Fernande, drama, 3 acts 1110 

Fifth Wheel, comedy, 3 acts 10 2 

First Love, comedy, 1 act 4 

Foiled, drama. 4 acts — . 9 

Founded on Facts, farce, 1 act. . . . 4 

Garrick Fever, farce, 1 act 7 

Gertrude's Money Box, farce, 1 act. 4 
Golden Fetter (Fettered), drama, 3 11 
Goose with the Golden Eggs, farce, v> 

1 act 5 3 

Go to Putney, farce, 1 act 4 3 

Happy Pair, comedietta, 1 act 1 1 

Hard Case (A), farce, 1 act 2 

Henry Dunbar, drama, 4 acts 10 

Henry the Fifth, historical play, 5 38 

He's a Lunatic, farce, 1 act 3 

Hidden Hand, drama, 4 acts 5 

His Own Enemy, farce, 1 act 4 

Home, comedy, 3 acts 4 

Household Fairy, sketch, 1 act 1 

Hunting the Slipper, farce, 1 act 4 

High C, comedietta, 1 act 4 

Hunchback (The), play, 5 acts 14 

If I Had a Thousand a Year, farce, 

1 act 4 

I'm Not Mesilf at All, original Irish • 

stew, 1 act 3 

In for a Holiday, farce, 1 act 2 

In the Wrong House, farce, 1 act. . . 4 a 

Isabella Orsini, drama, 4 acts 11 4 

I Shall Invite the Major, comedy, 14 1 

-Jack Long, drama, 2 acts 9 2 

Joy is Dangerous, comedy, 2 acts. . . 3 3 
Kind to a Fault, comedy, 2 acts. . . . 6 4 

Lady of Lyons, play, 5 acts 12 5 

Lame Excuse, farce, 1 act 4 2 



PRICE 1£> CENTS. 




DE WITT'S ACTING PLAYS. 

( Number 82. ) 




NEW "IDRTJRY LANE" VERSION 



PEEP 0' DAY; 

OB, 

Savourneen Dlieelish. . 

AN IRISH ROMANTIC DRAMA, IN FOUR ACTS. 
(Derived from " Tales of the O'Hara Family.") 

By EDMUND FALCONEK, 

Author of " Inshavogue," "Extremes," " Ruy Bias," "Outlaw of the 
Adriatic," etc., etc. 

FIRST PERFOKMED AT THE LYCEUM THEATRE, LONDON, MON- 
DAY, NOV. 11, 1861, AND AS PRODUCED, WITH ALTERA- 
TIONS, FOR THE MODERN STAGE, AT DRURY LANE THE- 
ATRE, LONDON, UNDER THE MANAGEMENT OF MR. 
F. B. CHATTERTON, MONDAY, FEB. 28, 1870. 

TO WHICH AH15 ADDED 

A description of the Costume — Cast of the Characters — Entrances and Exits — 

Relative Positions of the Performers on the Stage, and 

the whole of the Stage Business. 



p- » <♦> < « 




Ultto-Uorfc : 

ROBERT M. DE WITT, PUBLISHER, 

No. 33 Rose Street. 




f A CHARMING PAIR. A Farce, in One Act. By Thomas J. 
JVOIF Williams. Price 15 Cents. 

READY. 1 VANDYKE BROWN. A Farce, in One Act. By Adolphns Chas. 

Trough ton. Price 1 5 Cents . 



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